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Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/pastelpaintingsiOOgoup 


PASTEL  PAINTING 


SIMPLIFIED  AND  PERFECTED 


After  the  Methods  Compared  with  the  Studies  of  the  Best  Masters 


by  GOUPIL 

MEMBER  OP  THE  ACADEMY,  PUPIL  OF  HORACE  VERNET,  PORTRAIT  PAINTER 
AT  THE  WORKS  OF  SEVRES,  AND  EX-PROFESSOR  OF  DRAWING 
IN  THE  PUBLIC  SCHOOL  OF  THAT  CITY,  ETC. 


TRANSLATED  AND  REVISED  BY 

S.  M. 


THIRD  EDITION 


PHILADELPHIA  : 

F.  WEBER  & CO., 

1125  Chestnut  Street 


THE  GETTY  CEflTF 
LIBRARY 


PREFACE. 


Is  there  a Special  Method  for  Painting  in 
Pastel  ? 

This  kind  of  painting,  which  is  undoubtedly  one  of  the 
most  captivating  to  amateurs,  though  by  its  fragility  ex- 
posed in  a thousand  ways  to  the  danger  of  being  destroyed, 
is,  however,  one  of  the  easiest  to  accomplish,  because  of 
the  rapidity  with  which  it  is  executed. 

If  carefully  preserved  by  a glass  from  dampness  and 
exposure  to  the  air,  care  being  taken  to  keep  the  picture  at 
a little  distance  from  the  glass,  a pastel  painting  can  cer- 
tainly remain  perfect  for  a very  long  time.  The  truth  of 
this  is  proved  by  the  freshness  and  lustre  of  the  numerous 
old  pastel  paintings  in  the  collection  of  drawings  of  the 
Master  at  the  Louvre, 

Casting  a retrospective  glance  at  the  most  recent  works 
in  the  Exhibitions  of  Fine  Arts,  that  is  to  say,  within  the 
last  ten  years,  if  we  compare  the  works  of  modern  artists 
with  those  of  the  old  pastel  painters,  we  shall  be  convinced 
that  the  kind  of  painting  called  Pastel  has  always  been  in 
favor,  especially  for  portraits.  The  soft  coloring  of  the 
pastel  makes  a flattering  picture  of  even  the  most  disa- 
greeable and  repulsive  faces,  and  this  Is  the  reason  why 


4 


people  prefer  it,  as  is  proved  by  the  very  great  number  of 
portraits  in  pastel.  The  process  in  this  point  of  view  is  ad- 
vantageous to  trade  and  remunerative  in  the  highest  degree ; 
it  is  also  usefully  employed  in  decorating  and  furnishing, 
which  adds  still  more  to  its  pecuniary  success.  For  fruits, 
vegetables,  still  life,  as  well  as  for  animals  and  landscapes, 
it  is  an  easy  and  expeditious  work,  producing  much  effect. 

But  pastels  of  high  artistic  value  are  very  rare  now. 
Workers  in  it  are  numerous,  and  we  must  seek  the  masters 
among  those  who  have  endeavored  to  raise  pastel  painting 
to  the  rank  of  serious  study. 

At  the  head  of  these  eminent  artists  we  do  not  hesitate 
to  inscribe  the  name  of  M.  Mardchal,  of  Metz,  who  has 
made  genuine  pictures  in  pastel  as  large  as  historical  paint- 
ings, and  who  has  made  himself  a name  by  his  compositions 
on  glass  windows,  and  his  monumental  paintings.  M. 
Marechal  has  had,  however,  scholars  and  imitators  of  great 
merit. 

Public  attention  has  for  a long  time  been  justly  drawn 
to  the  pastels  of  the  painter  Eugene  Giraud  through  his 
pictures  from  Spanish  subjects,  which  are  so  attractive, 
spirituel  and  life-like.  He  was  the  drawing-master  of  Her 
Royal  Highness,  the  Princess  Mathilde,  who  does  pastel  as 
well  as  water-color  painting.  M.  Goedas,  who  excels  in 
portrait  painting,  has  made  excellent  scholars  in  this  kind 
of  work. 

The  charming  painter  Philippe  Rousseau,  whose  work 
in  oil  painting  is  so  masterly  grand  and  true,  has  executed 
some  subjects  of  still-life  and  animals,  and  he  has  handled 
them  so  intelligently,  that  one  cannot  forget  them.  Jadin, 
the  painter  of  hunting  scenes,  has  for  a long  time  given  to 
the  lovers  of  art,  models  of  animal  subjects,  executed  some- 
what like  the  great  art;  one  recollects  also,  with  pleasure, 
some  military  groups  in  pastel  by  the  late  R6gamer.  Mme. 


Valentine  de  Goutades  has  made  a beautiful  pastel  copy 
of  Mme.  Viges  Lebrun’s  Marie  Antoinette. 

Chaplin’s  oil  painting  has  all  the  freshness  of  pastel,  the 
crayons  of  which  he  handles  with  the  greatest  ability. 
Mme.  Becq  de  Fouquidres  is  a refined  pastel  painter. 

A great  many  landscape  painters  excel  in  this  kind  of 
painting.  Decamps  has  done  some  beautiful  work;  also, 
Cabat,  Bouquet,  etc.  It  would  be  too  long  to  enumerate 
the  list  of  portrait  painters  and  others  celebrated  for  their 
pastel  pictures. 

The  modern  artists  who  continued  to  cultivate  pastel, 
formerly  using  it  only  for  portrait  painting,  have  succeeded 
in  extending  and  perfecting  the  process  and  the  colors  to 
such  a degree,  that  they  may  be  applied  to  all  kinds  of 
studies — to  landscapes,  to  flowers  and  fruit,  to  scenic  paint- 
ings with  all  the  strength  of  coloring  possessed  by  an  oil 
painting.  M.  Marshal,  mentioned  before,  has  made  him- 
self noted  in  the  expositions  of  Fine  Arts  by  work  equal- 
ing in  vigor  Titian’s  power  of  coloring.  To  the  question 
at  the  head  of  the  chapter  we  shall  reply,  that  to  become  a 
good  worker  in  pastel,  a previous  knowledge  of  drawing  is 
indispensable;  a proficiency  in  the  different  kinds  of 
crayon-drawing,  sketching,  and  the  use  of  the  stump  will 
greatly  facilitate  the  study  of  pastel. 


Oeigin  and  Advantages  of  Pastel. 

The  name  pastel , from  the  Italian  pasta,  which  means 
paste,  is  given  to  a kind  of  drawing  or  painting  done  with 
colored  crayons,  more  or  less  soft,  on  paper  of  a certain 
grain;  on  paper,  boards,  etc.,  coated  with  a certain  prepa- 
ration; on  wood,  prepared  in  the  same  way;  on  vellum, 
rendered  downy  or  cottony  by  rubbing;  or  even  on  canvas. 


6 


coated  with  a preparation.  The  work  is  very  pleasing  on 
account  of  the  quickness  and  facility  with  which  it  can  be 
done,  accompanied  by  no  disagreeable  odor,  as  in  oil  and 
also  adapting  itself  to  all  kinds  of  styles,  thus  giving  to  the 
amateur  a most  delightful  recreation. 

Pastel  painting  is  done  by  crushing  the  soft  colors  and 
rubbing  them  on  with  the  finger,  as  will  be  hereafter  ex- 
plained. The  only  objection  to  the  pastel  pictures  is  that 
great  care  must  be  taken  to  preserve  them.  This,  however,, 
has  been  overcome  to  a great  extent  by  a new  process  of 
fixing  the  pastel  colors,  hereinafter  described.  It  is  neces- 
sary, as  has  been  said  before,  to  protect  them  by  a glass 
from  dust,  air  and  dampness  and  from  being  handled,  all 
of  which  would  injure  or  destroy  them.  But  a few  very 
simple  precautions  given  here,  will  secure  to  them  a long 
duration. 

It  does  not,  like  oil  painting,  require  a certain  light  in 
order  to  be  seen  and  it  approaches  nature  more  nearly  than 
any  other  kind  of  painting.  Its  shades  are  true,  brilliant, 
full  of  freshness,  rich  and  velvety  in  their  lustre.  The 
Gobelin  tapestries  have  the  look  and  freshness  of  a pastel 
drawing. 

Oil  painting  excites  our  admiration  by  its  energetic  and 
powerful  touches;  aquarelle  by  its  fine  transparency;  but 
the  pastel  pleases  by  its  richness,  its  velvety  appearance, 
which  it  seems  to  have  stolen  from  the  wing  of  the  butterfly 
to  be  reproduced  in  the  smiling  features  of  beauty  or  the 
rich  hues  of  flowers. 

It  suits  every  style.  For  amateurs  the  pastel  is  pre- 
eminent in  the  representation  of  fruits  and  flowers  from 
nature;  it  has  all  the  brilliancy  of  light  and  the  vigor  and 
warmth  proper  to  pictures  of  still-life,  and  to  emblematic 
decorations.  Fruits  and  flowers  grouped  with  game,  armor 
and  hangings,  objects  of  art  or  curiosity,  will  afford  to  the 


7 


young  artist  at  all  times  excellent  exercise  in  the  compo- 
sition of  arrangements  and  practice  in  imitation,  at  the 
same  time  forming  the  taste  by  the  happy  choice  of  those 
elements,  which  should  serve  him  as  models. 

We  recommend  specially  pastel  painting,  which  of  all 
others,  offers  the  least  difficulties  and  is  consequently  less 
subject  to  cause  discouragement.  The  outfit  is  very  sim- 
ple, not  at  all  cumbersome,  and  the  work  may  be  com- 
menced, dropped  and  taken  up  again  without  any  incon- 
venience. The  colors  are  delicate,  powdery,  easily  effaced, 
and  always  dry  of  their  own  nature.  Care  must  be  taken 
to  preserve  them  from  being  spoiled  by  contact  with  greasy 
or  oily  substances,  moisture  of  the  hand,  etc. 


PASTEL  DRAWING 


FUNDAMENTAL  HINTS. 

Definition  of  Terms  Relating  to  the  Dis- 
tinctive Qualities  of  Colors. 

Color  can  only  be  defined  as  the  manner  in  which  ob- 
jects affect  the  eye  under  the  influence  of  light.  The  illus- 
trious Chevreul  discovered  the  law  of  contrast  in  colors. 

Transparency , a property  of  color,  which  permits  light  to 
pass  through  it,  is  the  opposite  to  opacity,  which  is  imper- 
vious to  light. 

Colors  are  lively,  bright,  brilliant,  striking,  dazzling,  soft, 
dull,  heavy,  dingy,  tame,  sombre,  grave,  harmonious,  origi- 
nal according  to  the  qualities  expressed  by  these  terms. 

Tone,  the  degree  of  color,  more  or  less  light,  more  or  less 
dark.  We  say,  for  instance,  that  the  tone  of  a picture  is 
light  and  transparent  in  opposition  to  one  that  is  warm, 
rich  and  vigorous.  The  Titians  and  Giorgiones  are  deep, 
rich,  grand  in  coloring. 

Water-color  painting  is  distinguished  by  the  fineness  of 
its  light  and  transparent  tones.  Distemper  has  only  solid 
and  opaque  tones.  The  coloring  is  said  to  be  firm  and 
vigorous,  when  it  is  bold,  free,  strong  and  contributes  of 
itself  to  increase  the  effect ; this  is  true  or  real  color. 


10 


Tone,  shade,  strength,  give  relative  ideas  of  colors  ac- 
cording to  their  degrees  of  light  and  shade. 

A tone  or  color  is  said  to  be  warm  if  it  is  red,  yellow  or 
brown.  Bine  and  black  are  cold  tones. 

Soft  color  belongs  to  a painting  in  which  the  tints  are 
vague  and  undefined,  as  in  a fog.  Color  may  be  ideal  or 
imaginary. 

Ordinary  language  abounds  in  expressions  which  are 
vague  and  defined  by  the  dictionaries  in  such  a manner  as 
to  confuse;  it  would  be  well  to  define  them  more  exactly. 
IsTacarat  is  a red  between  cherry  and  rose. 

The  word  scarlet  (according  to  the  dictionary)  is  a very 
bright  red  color.  Is  that  a definition? 

The  word  crimson  (one  of  the  seven  colors)  is  equally 
vague  in  the  dictionary.  The  word  incarnat  is  defined 
more  precisely,  a red  between  rose  and  cherry:  nacarat  is 
a red  with  a cast  of  orange.  Rouge  de  feu  (fiery  red)  is  a 
variable  red. 

Purple  comes  from  a Tyrian  shell-fish  which  formerly 
gave  this  boasted  color.  Perse  and  J uvenal  designate  royal 
purple  by  the  word  hyacinthe,  Ovid  also,  while  by  a stretch 
of  singularity,  lapidaries  give  the  name  of  hyacinthe  to  an 
orange-  colored  stone.  Thus  misconceptions  arise  from 
the  want  of  clear  and  exact  definitions. 

Does  not  artistic  language  gain  in  force  and  beauty  if  it 
borrows  its  comparisons  from  those  types,  which  since  the 
creation,  have  never  varied,  and  with  which  every  one  is 
familiar  from  childhood?  Coquelicot  (from  the  cock’s 
comb),  poppy  red,  is  vermilion. 

Wine-red  gives  an  exact  idea  of  the  color,  also  cherry- 
red,  sky-blue,  turquoise-blue.  We  can  say  black  as  a bot- 
tomless gulf,  black  as  ink  or  "as  black  as  your  hat,”  in  spite 
of  gray  hats  ; raven  black,  canary-color,  olive  green,  sea- 
green,  emerald  green,  etc.,  all  being  so  many  definitions 


11 


of  color,  explained  by  the  objects  of  comparison.  Work 
with  white,  gray  or  black  on  different  colored  grounds  and 
you  will  find  the  white,  gray  and  black  to  appear  different 
on  each.  Chevreul  demonstrates  this. 

Color  is  true  when  it  paints  the  object  exactly  as  it  is 
clothed  in  nature;  it  is  conventional  when  it  is  applied  to 
caprices  of  the  art,  such  as  the  ornamentation  of  arabesques 
or  when  it  loses,  conventionally,  the  real  coloring  of  terres- 
trial objects,  to  be  represented  in  imaginary  tints  supposed 
to  exist  in  air  or  in  an  apotheosis  or  in  the  representation 
of  an  infernal  picture  or  pure  fiction.  There  are  colors 
called  changeable,  such  as  mother-of-pearl  and  those  that 
change  with  light,  as  the  plumage  of  certain  birds,  hum- 
ming-birds for  instance,  which  seem  to  borrow  their  bril- 
liancy from  the  light  of  precious  stones. 

The  colors  of  the  solar  spectrum  formed  by  a ray  of  solar 
light,  falling  through  a prism  on  an  object  in  a darkened 
room,  are  true  types  of  the  gradations  of  color  in  their 
most  complete  degree  of  purity. 


Harmony  of  Colors. 

Shading,  the  graduation  of  any  color  whatsoever,  is  thus 
called. 

It  is  established  by  common  consent  that  1 marks  the 
lightest  possible  shade,  almost  white,  and  15,  the  darkest 
and  deepest  of  the  color  given;  that  is  to  say,  its  intensity 
cannot  be  exceeded.  We  say  15  as  we  would  say  30,  etc.  If 
every  pastel  crayon  has  15  gradations  or  shades,  there  is  a 
■difference  of  one-fifteenth  of  a tone,  light  or  dark,  between 
them.  Such  is  the  method  of  grading  them. 

The  scale  of  colors  is  infinite  in  theory  since  there  is  an 
infinite  graduation  of  shades  in  going  from  white  to  black 


12 


and  it  is  considered  very  incomplete,  limited  to  15  degrees 
only. 

There  is  then  a great  difference  between  the  words  color, 
and  tone  or  degree  of  intensity  of  color.  There  are  in  or- 
dinary language  expressions,  which  convey  an  entirely  dif- 
ferent meaning,  when  applied  to  colors. 

There  are  three  simple  colors;  red,  yellow  and  blue, 
which  produce,  being  mixed,  orange,  green  and  violet. 

These  colors  are  light  or  dark : mix  red,  yellow  and  blue 
and  you  have  a dirty  gray;  orange,  green  and  violet  give  a 
dirty  gray.  To  break  the  tones  of  a color,  so  to  say,  is  to 
mix  them  in  such  a manner,  as  to  produce  gray. 

Pastel,  so  useful  and  so  preferable  to  any  other  kind  of 
painting,  when  we  wish  to  catch  the  effect  of  a view,  which 
will  quickly  disappear,  such  as  a sunset,  light  breaking  sud- 
denly between  the  clouds,  cannot  be  replaced  either  by  oil 
or  water-colors  when  we  wish  to  transfer  at  once  to  paper 
that,  which  the  mind  conceives,  because  the  imagination 
easily  loses  some  of  its  fire,  when,  in  the  heat  of  ardent  con- 
ception, it  meets  with  obstacles  and  delays  in  the  very 
means  that  should  give  it  birth. 


Materials  Used  in  Pastel  Painting. 

An  assortment  of  soft  pastels  of  the  principal  colors- 
A half-box  of  half-hard  pastels. 

A box  of  hard  colored  crayons. 

Tinted  paper  of  different  colors. 

Boards  or  paper  prepared  for  pastel  painting. 

Pastel  canvas  and  monochromatic  boards. 

Plaques  prepared  for  pastel  paintings. 

Gray  paper,  leather  and  felt  stumps. 

Black  and  red  crayons,  and  sauce  crayons. 


13 


A box  of  charcoal. 

A bottle  of  fixatif. 

One  atomizer. 

A scraping  knife. 

Precaution . — Great  care  must  be  taken  to  preserve  the 
colors  from  dampness  and  injurious  exhalations. 

Pastel  Paper. 

The  paper  to  be  used  for  pastel  painting  should  have  a 
rough  or  cottony  grain,  as  smooth  or  much-sized  paper 
will  not  hold  the  crayons.  It  is  easy  to  ascertain  the  right 
quality  of  the  paper  by  applying  a strong  color,  rubbing  it 
lightly  with  the  finger,  then  overlaying  it  with  a lighter 
shade,  if  the  latter  preserve  the  color  in  spite  of  the 
stronger  one  beneath,  it  will  prove  sufficiently  that  the 
paper  is  of  the  right  kind.  The  best  of  all,  however,  is 
what  is  called  pumiced  paper,  as  its  coating  of  fine  sand, 
saw-dust,  cork  or  pounce,  takes  the  pastel  best;  the  tints 
lose  nothing  of  their  freshness  and  lightness;  it  can  be 
charged  with  color  without  inconvenience  to  the  parts 
where  the  outline  should  be  expressed ; the  touches  remain 
on  it  firm  and  vigorous;  finally,  it  may  be  retouched  as 
often  as  may  be  desired,  without  fear  of  its  becoming 
greasy  or  of  its  not  taking  the  crayon. 

Some  persons  work  in  pastel  on  unsized  bluish  or  gray 
paper,  others  on  parchment,  vellum,  taffeta,  linen  or  white- 
paper. 

Blue  or  gray  paper,  pasted  on  linen  or  muslin,  then 
tacked  on  a frame  or  stretcher,  is  very  good  for  pastel,  the 
linen  serving  to  strengthen  the  paper.  This  gray  or  bluish 
paper  is  generally  a little  rough  and  is  suitable  for  bold 
execution,  not  intended  to  be  seen  too  closely. 

Very  strong  paper  is  sometimes  stretched  on  the  frame 


14 


and  boiling  water  thrown  on  its  surface  three  or  four  times, 
rubbing  it  each  time  with  a soft  brush,  to  take  off  the  size. 
When  it  is  thoroughly  dry,  remove  the  inequalities  of  the 
grain  by  smoothing  it  with  pumice  stone. 

In  Italy,  certain  painters  coat  a linen  cloth  with  parch- 
ment size,  in  which  they  have  thrown  well  sifted  marble  or 
pumice  powder,  after  which  they  polish  the  canvas  with 
pumice  stone,  to  remove  the  unevenness.  This  preparation 
takes  the  pastel  very  well. 

It  would  even  suffice  to  coat  the  cloth  with  a simple  layer 
of  chalk  mixed  with  paste. 

Primed  or  sized  tapestry  paper  affords  an  excellent  foun- 
dation for  pastel,  being  already  prepared.  It  should  be 
strengthened  by  mounting  it  on  muslin  or  strong  paper  and 
tacked  on  the  frame. 

For  elaborate  work,  the  parchment,  well  prepared  and 
pounced,  is  the  best  material  for  thick  and  heavy  pastel 
painting. 

Fleecy  vellum,  which  is  shaggy  on  one  side,  is  very  ad- 
vantageously employed,  but  its  high  price  precludes  its  use 
for  the  simple  studies  of  beginners. 

Wooden  or  card  panels  and  canvas  may  be  used  as 
grounds  for  pastel  by  being  prepared  as  above. 

All  of  the  above  described  methods  of  preparing  the 
paper,  boards,  canvas,  etc.,  for  pastel  painting  have  now 
been  set  aside  by  the  respective  materials  now  offered  by 
the  trade,  of  a much  better  quality  and  cheaper  than  the 
artist  himself  could  prepare  the  same. 


Pastel  Crayons. 

There  are  two  sorts  of  pastels,  soft  and  hard  and  they 
are  at  present  assorted  as  pastels  for  portraits  and  pastels 


15 


for  landscapes.  As  it  is  utterly  impossible  to  manufacture 
as  many  shades  as  there  are  in  nature,  only  a certain  num- 
ber of  tints  can  be  taken,  from  which  the  most  useful 
should  be  chosen. 

The  choice  of  materials,  indispensable  to  the  composition 
of  the  pastel  crayon,  as  in  any  work,  is  of  the  greatest  im- 
portance. The  mineral  kingdom  furnishes  for  this  pur- 
pose solid  elements.  We  reject  from  pastel  many  colors, 
used  in  other  kinds  of  painting  as  unsuitable  and  replace 
them  by  analogous  tones,  such  are  Colonge  earth,  Cassel 
earth,  bitumen,  blue  and  green  ash,  the  cochineal  lakes,  the 
yellow  lakes  (brown  pink),  which  it  is  impossible  to  use. 

The  colors  affected  by  the  air,  as  well  as  those  which 
change,  when  blended  with  others,  viz.,  white  lead,  Prus- 
sian blue,  destroyed  by  bases  containing  lime;  the  vegetable 
lakes,  injured  by  contact  with  the  air,  light  and  lime,  are 
employed  and  are  found  in  all  assortments  of  pastel 
crayons  in  spite  of  these  drawbacks.  We  give  here  a list  of 
the  most  reliable  colors : 

Pipe-clay  is  mixed  with  those  colors  that  have  of  them- 
selves but  little  solidity. 

White  zinc. 

Carbonate  of  lime. 

Spanish  white  or  chalk. 

Naples  yellow,  replaced  by  ochre,  mixed  with  white  or 
by  the  protosulphate  of  cadmium. 

Yellow  ochre. 

Calcined  oxide  of  zinc. 

Chrome  yellow. 

Indian  red,  very  solid. 

Red  ochre. 

Soft  red  chalk. 

Chinese  vermilion. 


16 


Brown  red. 

Venetian  red. 

Ohrome  red. 

Cadmium. 

Carmine. 

Madder  lake. 

Indigo. 

Prussian  blue. 

Prussian  black  or  brown. 

Burnt  and  Paw  Umber. 

Cobalt. 

Ultramarine. 

Soft  crayons  should  be  friable,  but  of  sufficient  hardness 
to  prevent  their  being  broken  or  crumbled  too  easily  in  the 
fingers  ; their  delicacy  depends  on  the  care  taken  to  grind 
the  colors,  the  bases  most  commonly  used  for  combining 
the  molecules  being  gum  arabic  or  tragacanth,  the  latter 
of  which  is  preferable.  A little  candied  sugar  is  added, 
but  with  care,  when  the  paste  requires  but  a slight  degree 
of  agglutination. 

After  putting  them  in  clean  water  the  mixture  is  worked 
into  consistency.  The  white,  magnesian  colors,  soft  to  the 
touch,  are  employed  with  advantage  as  bases  or  excipients 
(foundations)  for  most  crayons. 

The  dry  colors,  which  do  not  readily  unite,  are  softened 
with  soapy  water,  to  which  gum  adds  consistency.  Isin- 
glass, powdered  slate,  porcelain  clay,  fuller’s  earth,  may  be 
employed  with  care,  to  modify  the  mass. 

Most  painters  pay  little  attention  to  the  substances  of 
which  colors  are  composed,  and  resemble,  in  this  respect, 
those  architects  who  build  without  ascertaining  the  quality 
of  their  materials,  and  without  securing  a proper  founda- 
tion for  their  building.  A few  words  on  this  subject  will 
be  appropriate  here. 


17 


White  lead,  which  is  used  in  oil-painting,  is  banished 
from  pastel  and  is  replaced  by  chalk ; the  best  is  that  called 
“French  chalk/5*  a species  of  calcareous  earth  or  white 
marl,  which  is  prepared  at  Troyes,  where  there  are  vast 
beds  of  it  take  the  finest  particles,  free  from  stony  grains. 

Yellow  ochre  is  a sort  of  ferruginous  lime,  with  which 
the  water  that  runs  through  mineral  beds  containing  iron 
is  charged  and  which  it  deposits  in  its  course.  It  is  a little 
like  dull  gold  in  color;  choose  the  lightest,  the  least  com- 
pact and  the  liveliest  shade. 

Brown  or  red  ochre  is  another  lime  or  rust  of  iron, 
deeper  than  yellow  ochre. 

Italian  clay  is  the  best  red  ochre;  all  the  yellow  and 
brown  ochres  are  generally  the  most  solid  of  all  the  colors. 

As  for  yellow  lake,  it  is  simply  a preparation  of  chalk, 
colored  yellow  by  a decoction  of  French  berry  (graine 
d’Avignon),  more  or  less  strong,  the  color  being  fixed  by 
means  of  alum.  This  is  a very  good  color,  though  less 
solid  than  the  ochres.  The  shade  is  golden  yellow,  like  the 
jonquille  or  yellow  narcissus. 

Vermilion  (Cinnabar)  is  a chemical  combination  of 
mercury  and  limestone,  which  produces  a solid  mass  of 
brown-red  in  brilliant  spangles,  which  pulverized  become 
scarlet.  It  is  ordinarily  mixed  with  a little  sand.  The 
Dutch  excel  in  the  manufacture  of  this  pigment.  Chinese 
vermilion  is  commonly  passed  off  as  cinnabar,  which  is  cin- 
nabar mixed  with  a little  carmine.  Pure  cinnabar  is  very 
solid. 

Carmine  is  only  cochineal,  a little  insect  which  is  found 
on  the  nopals  or  fig-trees  of  Africa.  It  is  also  obtained 
from  Mexico,  where  these  trees  abound.  The  cochineal  is 
boiled  one  or  two  minutes  with  a little  alum  and  Chouan 


^Carbonate  of  lime, 


18 


berries  and  bark.  The  precipitate  which  results  is  a very 
bright  crimson-red. 

Crimson  lake  is  made  in  nearly  the  same  manner,  bnt  is 
extracted  from  Brazil  wood  instead  of  cochineal.  Properly 
speaking,  it  is  a sort  of  wax  or  red  gnm  produced  in  the 
Indies  by  flying  ants,  and  is  what  is  called  gum-lac.  They 
make  sticks  of  sealing-wax  of  it,  but  the  lake  used  as  a color 
is  less  solid  than  carmine. 

Prussian  blue  is  obtained  by  calcining  bullock’s  blood 
dried  in  a crucible,  with  carbonate  of  potash;  then  this  is- 
boiled,  and  it  gives  a greenish  precipitate,  a little  red  vit- 
riol and  alum  being  added;  but  the  addition  of  a little 
muriatic  acid  makes  this  precipitate  become  a beautiful 
blue. 

Before  the  discovery  of  this  composition,  unknown  to  the 
ancients,  indigo  or  Indian  blue  was  used. 

The  greens  of  the  pastel  are  manufactured  by  mixing 
yellow  and  blue  in  different  proportions. 

Umber,  or  more  properly  Umbrian  earth,  is  a compact 
earth,  a little  greasy  to  the  touch,  of  a rusty  brown  color, 
very  obscure;  it  is  an  iron  ochre,  mixed  with  turf  or  peat, 
which  is  found  in  Italy  or  on  the  Cevennes. 

Cologne  earth  is  a substance,  in  mass  rough  to  the  touch, 
of  a deep  brown,  bordering  on  violet.  It  is  much  more 
compact,  like  bitumen,  than  umber.  It  is  difficult  to  dis- 
tinguish it  from  bistre,  which  is  obtained  from  chimney- 
soot,  and  which  is  often  sold  for  Cologne  earth. 

Ivory  black  or  lampblack  is  obtained  from  bones  calcined 
in  fire;  this  is  what  is  called  bone-black.  Vine-black,  char- 
coal, oak,  elm,  hazel,  poplar  and  other  blacks  are  also  very 
solid. 

Bases  are  those  white  colors  which  serve  as  excipients 
for  most  crayons,  giving  them  consistency  and  serving  to 
heighten  the  color.  They  are: 


19 


Carbonate  of  lime  and  French  chalk. 

Pipe-clay,  nsefnl  in  fixing  those  colors  which  are  weak- 
ened by  contact  with  lime. 

Plaster,  sometimes;  the  magnesian  earths  very  good; 
porcelain  clay,  slate,  fuller’s  earth. 

White  zinc  and  carbonate  of  lime,  the  latter  in  the  pro- 
portion of  one-eighth,  with  the  addition  of  the  white  of 
eggs  or  milk,  makes  a perfect  base. 

A decoction  of  barley  or  malt  is  a good  mucilage  for 
colors  having  already  some  consistency ; it  holds  in  solution 
sugar,  albumen,  mucilage,  starch,  gluten,  tannin. 

Yellow  ochre  requires  more  or  less  gum-water.  Red 
ochre,  Italian  earth,  the  yellows  shading  red,  are  prepared 
by  themselves,  or  with  a little  gum  mucilage  and  chalk. 

' For  oxide  of  zinc,  add  milk  or  white  of  eggs  to  the  mu- 
cilage. 

Red  crayons  are  mixed  with  white  of  eggs;  vermilions 
with  clay,  chalk  and  gum. 

The  crimson  lakes,  madder  and  carmine,  are  mixed  with 
clay,  sometimes  with  starch,  brewer’s  yeast,  barley-water,, 
white  of  eggs,  or  milk,  or  gum,  whichever  is  most  suitable. 

Blue  crayons  require  no  addition,  except  perhaps  chalk: 
and  gum-water. 

Green  crayons,  with  chalk  or  pure,  are  mixed  with  gum 
tragacanth,  mucilage,  chalk,  and  gum. 

Brown  crayons,  pure,  are  mixed  with  chalk  and  gum- 
water. 

Prussian  brown  is  mixed  with  chalk  and  barley-water. 

Brown  is  composed  of  umber,  black,  ochre,  Cologne 
earth,  with  chalk  and  some  magnesia.  The  mucilage  is 
composed  of  white  of  eggs  and  malt. 

These  few  hints  on  the  composition  of  the  crayons  ap- 
pear necessary,  and  at  the  same  time  sufficiently  clear. 
With  regard  to  the  number  of  pastel  crayons,  it  can  be 


20 


limited  to  thirty,  sufficient  for  general  use,  each  color  being 
graded  by  white  from  its  own  natural  shade  to  the  lightest : 

Vermilion. 

Vermilion  and  white. 

Vermilion  and  white  in  greater  proportion,  etc. 

Light  chrome  and  its  gradations. 

Chrome  orange. 

Emerald  green. 

Gamboge  and  white  and  its  gradations. 

Yellow  ochre  and  its  gradations. 

Bed-brown  and  its  gradations. 

Burnt  Sienna. 

Indigo  and  cobalt,  and  their  gradations. 

Browns. 

We  have  judged  it  to  be  agreeable  to  the  readers  to  give 
them  some  idea  of  the  manufacture  of  crayons.  It  may  be 
useful  to  them  to  know  how  to  modify  the  soft  crayons 
which  they  buy.  They  may  be  reground  with  a glass 
muller  on  a glass  slab,  and  moulded  in  a stiff  paper  cylin- 
der, which  can  be  removed  when  the  paste  is  dry. 

It  is  well  understood  that  if  we  do  not  number  white 
among  the  primitive  tones,  it  is  because  white,  though  it 
contains  all  the  other  colors,  is  not  its  Jf  a color  existing  in 
nature ; nevertheless,  nothing  can  be  done  in  pastel  without 
it.  The  same  may  be  said  of  black,  which  ought  to  be  re- 
jected on  account  of  its  heaviness  and  gloomy  tone,  or 
-extended  only  to  those  delicate  shades  which  are  derived 
from  it,  as  velvets,  silks,  and  in  general  black  robings  can 
be  done  only  with  black  sauce  crayon. 

The  black  crayon  is  indispensable  to  certain  shades  of 
which  it  forms  the  undertone,  that  is,  for  those  black  or 
blackish  shades  which  ought  to  be  fine,  transparent,  harmo- 
nious. These  tones  are  obtained  by  mixing  burnt  Sienna, 
ochre,  and  indigo,  as  in  water  colors,  and  instead  of  a 


21 


heavy,  dull, harsh  tint,  this  process  gives  a light,  harmo- 
nious tone,  throwing  warmth  and  shadow  on  the  whole. 


Perception  and  Observation  are  Necessary 
to  the  Worker  in  Colors. 

The  knowledge  of  the  different  kinds  of  crayons  used  in 
pastel  painting  is  acquired  by  practice,  but  what  cannot  be 
taught,  is  how  and  where  to  use  them.  There  are  indeed 
principles  which  all  workers  in  colors  observe,  principles  as 
exact  as  a rule  of  mathematics,  but  the  principles  that 
regulate  the  degree  of  light  and  shade,  the  blending  and 
contrasting  of  colors,  cannot  be  applied  by  every  one,  for 
there  is  an  innate  perception  of  color,  which  belongs  only 
the  artist’s  eye,  to  the  accurate  vision,  comprehending  at  a 
glance  and  to  the  intelligent  observation  of  the  varied  pict- 
ures which  Nature,  at  all  times,  displays  to  our  view. 

Study  nature,  then  observe  how  the  colors  of  the  objects 
by  which  we  are  surrounded  change  every  hour  of  the  day 
and  with  every  change  of  the  atmosphere,  and  this  study 
will  enable  you,  pretty  well,  to  give  to  each  the  proper 
degree  of  coloring. 

Does  not  the  atmosphere,  when  the  day  is  clear,  seem  to 
clothe  every  object  with  a blue  misty  vapor,  while  the 
morning  sun  burnishes  the  same  with  gold  and  at  sunset 
the  same  objects  are  tinged  with  orange  and  red? 

From  this  it  is  proved  that  it  is  impossible  to  give  an 
arbitrary  rule,  a fixed  and  invariable  law  for  what  is  called 
the  science  of  coloring.  To  have  this  science  is  to  be  en- 
dowed with  one  of  the  rarest  of  gifts ; to  acquire  it,  is,  after 
a profound  study  of  Nature  and  its  phenomena,  to  discover 
the  means  of  reproducing  it,  as  it  is  in  reality. 


22 


The  Education  of  the  Eye. 

Education  being  the  daily  improvement  of  human  life  by 
the  constant  exercise  of  each  and  all  of  our  faculties  and 
•senses,  we  have  all,  insensibly,  learned  to  distinguish  the 
colors  of  objects;  but  if  it  be  asked  how  these  observations, 
made  without  study  or  reflection,  form  the  ground  of  our 
judgments,  most  ordinarily,  by  their  mere  development,  is 
a question  which  it  would  be  embarrassing  to  answer. 

The  inherent  indifference  of  the  egotism  which  pervades 
society,  making  life  a mechanical  routine,  is  one  of  the 
greatest  obstacles  to  progress.  The  sense  of  sight  is  not 
exercised  in  childhood;  we  know  only  just  enough  of  its 
value  to  walk  without  tripping  or  stumbling,  or  to  avoid 
dangers  which  menace  our  personal  preservation.  We  grow 
up  to  maturity,  sometimes  even  to  old  age,  in  entire  ignor- 
ance of  the  treasures  of  enjoyment  opened  oat  to  us  by  the 
contemplative  study  of  the  play  of  light  and  shade. 

There  are  means  by  which  we  can  acquire  definite  ideas 
of  colors,  their  beauties,  their  characteristics,  and  their  var- 
iations, as  for  the  development  of  our  notions  of  figures; 
study  and  reflection  often  supply  those  innate  perceptions 
which  give  intuitively  the  right  knowledge  of  colors.  Even 
as  the  hand  by  experience  and  practice  conveys  to  the  mind 
the  power  to  judge  of  the  weight,  resistance,  elasticity,  or 
toughness  of  objects,  so  the  eye  acquires  a just  idea  of  the 
preponderance  and  harmony  of  colors,  which  idea  is  noth- 
ing more  or  less  than  the  knowledge  of  their  proportions. 

To  illustrate  this  to  the  eye  and  mind  of  a child,  take 
equal  quantities  of  red  and  yellow,  powdered  fine,  and  mix 
them  together  till  the  color  of  both  is  lost  in  the  new  shade ; 
take  again  a double  quantity  of  one  or  the  other  and  the 
mixture  will  have  a deeper  tinge  of  red  or  yellow,  as  one  or 
the  other  predominates. 


23 


This  experiment  may  be  varied  by  mixing  the  colors  in 
various  proportions  of  quantity,  and  exercising  the  eye  of 
the  student  so  frequently,  that  it  becomes  accustomed  to 
distinguish  the  proportions  of  the  colors  in  any  mixture 
whatever.  But  it  is  necessary  to  be  familiarly  acquainted 
with  the  six  typical  colors,  so-called,  because  compared  to 
objects,  which,  from  the  creation,  have  been  the  types  of 
these  colors;  yellow,  as  gold;  orange,  yellow  as  an  orange; 
red  as  a poppy;  green  as  grass  (verdigris);  blue  as  the 
sky;  purple  as  the  violet;  black  as  the  clouds  or  night; 
white  as  snow. 

To  those  who  have  acquired  some  proficiency  in  drawing 
and  who  wish  to  study  colors,  a study  which  furnishes  such 
varied  pleasure,  it  will  be  useful  to  give  here  in  brief  some 
elementary  instructions  on  color,  and  to  recommend  to 
them  at  the  same  time  some  exercises  destined  to  educate 
the  eye,  to  accustom  it  to  distinguish  and  to  tell  at  sight  the 
composition  of  colors,  which  present  themselves  to  the 
view. 

Colors  borrow  their  brightness  from  light,  that  of  the  sun 
is  white;  artificial  light  is  of  various  colors;  gas,  which  is 
nearly  white,  appears  orange  in  broad  daylight.  Both  solar 
and  artificial  light  act  differently  on  sight  and  color,  and 
the  changes  that  every  color  undergoes  from  sunrise  to 
sunset  are  known  to  everyone.  By  this  we  may  judge  how 
comprehensive  is  the  study  of  coloring.  Light  is  never 
completely  absent  from  us,  even  at  night,  as  we  know  that 
certain  bodies  have  at  night  luminous  properties  and  give 
light  of  themselves,  producing  a sort  of  glimmer,  which  is 
perhaps  due  to  electricity.  The  light  of  fire  produces 
strangely  curious  effects  in  colors.  But  to  return  to  the 
practical  part  of  our  subject,  we  shall  simply  say  that  we 
recognize  three  primitive  colors ; viz : red,  yellow  and  blue. 
These  will  be  best  obtained  for  pastel,  as  follows : 


24 


Red,  with  vermilion  and  carmine  or  crimson  lake  in 
equal  parts. 

Yellow,  with  light  chrome  or  gamboge. 

Blue,  with  the  beautiful  Prussian  blue. 

Yellow,  red  and  blue  are  what  are  called  primitive  colors,, 
that  is,  they  cannot  be  obtained  by  mixing. 

Every  color,  simple  or  mixed,  may  be  made  lighter  by 
means  of  white,  or  obscure  by  means  of  black,  which  repre- 
sents shade  or  darkness. 

Red,  yellow  and  blue  mixed,  produce  the  other  colors: 
red  and  yellow  give  orange;  red  and  blue  give  violet; 
yellow  and  blue  give  green.  By  mixing  any  three  of  these 
six  colors — yellow,  red,  blue,  orange,  violet  green — in 
equal  or  unequal  proportions,  the  result  is  always  gray. 

The  colors  of  the  solar  spectrum,  and  those  seen  in  the 
rainbow,  observe  the  following  order:  red,  orange,  yellow, 
green,  blue,  indigo  and  violet,  and  fade,  one  into  the  other, 
by  an  inimitable  process,  without  losing  their  purity. 

Again,  by  mixing  orange  and  violet  we  obtain  a brown 
bordering  on  red;  violet  and  green  produces  a brown  with 
a blue  tint;  green  and  orange  give  a yellow  brown;  these 
shades  are  commonly  called  simple  brown,  gray  or  slate 
brown,  olive  brown. 

If  we  substitute  figures  for  the  colors  we  shall  have  a 
mathematical  table  of  all  the  compounds  resulting  from  the 
mixture  of  the  nine  colors. 


Simple. 

1.  Yellow. 

2.  Red, 

3.  Blue. 

Third. 

1 + 4,  or  yellow  and  orange. 
1 -j-  7»  yellow  and  brown. 
1+6,  yellow  and  green. 

1 -j-  9,  yellow  and  olrve. 


Second  Compound. 

7.  Brown. 

8.  Gray,  Slate. 

9.  Olive. 

Fourth. 

2 -f  7,  red  and  brown. 

2 -j-  4,  red  and  orange. 

2 + 5,  red  and  violet. 

2 + 8,  Red  and  gray. 


First  Compound. 

4.  Orange. 

5.  Violet. 

6.  Green. 


Fifth. 


Others. 


3  -j-  4»  blue  and  orange, 
3 + 5*  blue  and  violet. 
3 -j-  8,  blue  and  gray. 

3 + 9,  blue  and  olive. 


4  + 7,  orange  and  brown, 
6 + 9,  green  and  olive. 

4 + 8,  orange  and  gray. 

5 + 9,  violet  and  olive. 


Others. 


6 + 7,  green  and  brown. 

7 + 8,  brown  and  gray. 

8 + 9,  gray  and  olive. 


To  ascertain  exactly  the  amount  of  influence,  every  color 
exercises  upon  its  surroundings,  cover  a square  of  paper 
with  a ground  of  plain  gray,  composed  of  white  and  black 
in  equal  parts,  leaving  a vacant  circular  spot  in  the  centre ; 
then  fill  in  this  circular  space  with  any  one  of  the  nine 
colors  mentioned  above.  It  will  be  observed  that  a yellow 
centre  makes  an  aureola  of  violet  on  the  gray  ground;  red, 
a green  aureola;  blue,  orange;  and  that,  on  the  contrary, 
violet  gives  yellow;  green,  red,  etc. 

The  name  of  complimentary  is  given  to  those  colors 
which  give  vivacity  to  each  other ; they  are  thus  classed : 

Red  is  the  complementary  of  green,  and  vice  versa. 

Orange  is  the  complementary  of  blue,  reciprocally. 

Yellow  is  the  complementary  of  violet,  and  violet  is  the 
complementary  of  yellow. 

If  a white  ground  surround  the  colors,  instead  of  gray, 
it  will  strengthen  the  color ; if  a black  ground,  on  the  con- 
trary, it  will  dim.  These  demonstrations  prove  sufficiently 
to  the  most  incredulous  the  immense  influence  of  the  color 
of  the  ground,  on  which  the  picture  is  laid,  be  that  picture 
a flower,  a head  or  any  colored  object  whatsoever.  Besides 
being  of  delightful  interest,  they  teach  also  the  causes  of 
harmony  and  discordance,  and  enable  us  to  comprehend 
the  absurdity  of  wishing  a portrait  painter,  with  knowledge 
and  perception,  to  clothe  a person  of  a certain  complexion 


26 


in  a dress  whose  color  totally  disagrees  with  his  complexion 
for  the  sole  reason  that  this  color  pleases  the  sitter.  Ladies 
should  study  the  laws  of  contrast  and  should  understand 
that  certain  shades,  very  becoming  to  their  friends,  are 
often  as  unbecoming  to  themselves.  A walk  in  the  garden 
may  afford  a useful  and  agreeable  study,  fruitful  in  salu- 
tary meditation  on  the  relations  of  color  as  well  as  of  form. 

In  grouping  flowers,  the  largest  and  handsomest  should 
form  the  centre  of  the  boquet,  then  the  next  in  size  and 
so  on,  till  the  smallest,  which  should  be  the  lowest  or  else 
at  the  top;  however,  to  form  an  agreeable  whole,  the  little 
flowers  may  be  gracefully  thrown  in  between  the  others. 

Soft  yellow,  rose  or  flesh  color,  blue  and  white  harmonize 
with  red.  With  violet,  pale  rose,  rose,  orange  and  white 
make  a good  effect. 

Strong  colors  should  not  be  brought  together,  as  deep 
yellow,  carmine  and  blue.  Dark  green  heightens  light 
colors,  but  as  some  would  fade  by  this  strong  contrast,  these 
would  be  freshened  and  brightened  by  light,  soft  green. 
Bouquets  should  be  full  in  the  centre,  tapering  off  gradu- 
ally; the  same  rule  applies  to  festoons  and  garlands. 
Flowers  of  a single  color  may  be  placed  side  by  side,  with- 
out regard  to  contrast,  avoiding,  however,  the  unartistic 
mistake  of  putting  two  contrary  shades  of  the  same  color, 
as  rose  and  brick  red,  or  sky  blue  and  lilac,  together;  the 
simple  unpretending  flowers  are,  by  preference,  at  the 
ends,  and  good  taste  would  suggest  to  group  the  variegated 
flowers  with  the  plain. 

Park  and  landscape  gardeners  should  make  a special 
study  of  color  and  apply  it  profitably  in  disposing  the  dif- 
ferent shades  of  every  species  of  tree  in  such  variety  as  to 
charm  the  eye.  The  architect,  the  upholsterer,  the  deco- 
rator, the  sign  painter  and  other  industrial  professionals 
too  numerous  to  mention,  should  study  the  harmony  of 


27 


eoolors  and  their  laAvs  of  contrast.  A special  knowledge  of 
the  phenomena  of  coloring  is  indispensable  to  the  modiste 
.and  costumer,  and  above  all,  a knowledge  of  the  effects  of 
-artificial  light,  which  being  yellow  or  orange,  changes  the 
most  beautiful  bine,  green,  makes  yellow  fade  white,  while 
it  gives  to  the  latter  a yellow  cast.  Most  of  all  should  the 
painter  consider  well  the  choice  of  colors  for  his  picture. 
‘Color  speaks  to  the  mind  through  the  eye,  calling  forth  old 
memories. 

Lively  colors  inspire  recollections  of  the  buoyant,  joyous, 
exuberant  spring,  and  rural  pleasures.  Autumn  shades, 
brown,  yellow,  the  withered  leaf,  breathe  the  sad  harmonies 
of  decay  and  death,  the  end  of  all  things. 

To  be  convinced  of  the  ridiculous  impression  produced 
by  inappropriate  coloring,  imagine,  for  example,  the  Ship- 
wreck of  the  Medusa,  painted  with  all  the  glowing,  lively 
colors  of  a masquerade;  the  sufferers  in  red,  blue,  or  yellow 
satin  garments,  could  only  excite  pity  for  the  artist  who 
had  thus  pictured  them.  Or  imagine  a festive  scene  with 
the  guests  in  black,  convivial  and  merry  in  funeral  robes, 
what  sentiments  could  such  incongruity  inspire.  A shep- 
herdess of  Boucher’s,  whose  complexion  and  face  should  be 
green  and  her  clothing  red,  would  be  absurd,  and  the 
-absurd  is  the  destruction  of  the  beautiful. 

A certain  falsity  in  coloring  is  sometimes  not  without  its 
charm,  provided,  however,  it  does  not  entirely  destroy  the 
true. 

The  sketches  of  certain  painters  have  very  little  coloring, 
but  little  though  it  be,  if  there  is  a light  coating  of  color, 
which  reveals  as  under  a cloud  the  existence  of  shades 
which  are  the  life  of  nature,  this  gives  a sufficient  idea  to 
the  imagination  to  enable  it  to  continue  in  the  master’s  own 
style,  the  work  that  he  had  scarcely  outlined;  it  is  the 
thread  of  truth,  that  gives  the  clue  to  our  mind,  always 


28 


with  pleasure,  when  repeating  it  in  our  own  ideal.  The 
decorative  style  admits  of  ideal  colors,  of  cameo,  of  pictures 
in  one,  two  or  three  fantastic  colors,  showing  simply  the 
ornamental  imitation. 

The  Outline  of  the  Pastel. 

The  freshness  and  purity  of  the  pastel  forming  its  chief 
merit*  care  should  be  taken,  in  sketching  the  work,  not  to 
injure  the  paper. 

Wrong  shades  or  faulty  outlines  may  be  removed  with  a 
proper  brush,  or  a piece  of  pointed  rubber,  without  altering 
the  rest,  especially  the  mass  of  the  shades. 


GENERAL  OBSERVATIONS. 

Portraits  and  "Genre/" 

The  material  processes  offer  few  difficulties,  but  in  ap- 
plying them  it  is  necessary  to  know  the  positive  rules  of 
painting  and  coloring.  The  picture  on  a small  scale  differs 
from  full  length  or  life  size.  It  surpasses  the  miniature 
in  appearance. 

For  small  likenesses  or  figures  to  be  quickly  executed, 
after  having  sketched  the  outline,  the  pastel  should  he 
lightly  laid  on  with  a cork  or  gray  paper  stump,  or  a stump 
made  of  elder  pith.  After  having  thus  disposed  the  local 
tints,  the  plans  of  light  and  shade  by  observing  the  greatest 
accuracy  in  the  contrast  of  tone,  color,  and  reflex,  of  a style 
a little  striking  and  resembling  a mosaic  in  appearance,  the 


29 


whole  should  be  strengthened  by  hatching  it,  as  in  drawing, 
with  half  hard  pastels,  finely  pointed  by  means  of  sand 
paper;  the  second  time,  the  hatching  should  be  of  the 
lozenge  form,  to  imitate  softly  the  flexibility  and  graceful 
bend  of  the  lines  in  an  engraving,  giving  it  a high  finish  by 
dotting,  as  in  miniature. 

To  set  the  figure  in  the  strongest  relief  and  give  it  per- 
fect finish,  the  dress,  the  drapery,  and  other  accessories 
ought  to  be  less  elaborate;  such,  at  least,  is  the  recommen- 
dation of  nearly  all  professors  to  beginners,  the  reason  of 
which,  experience  alone  can  demonstrate.  The  novice  in 
painting  will  understand  the  expression,  “the  work/’  or 
“heavy  touching/5  as  a mode  of  giving  the  whole  without 
any  details ; the  suppression  of  those  details,  not  absolutely 
necessary  to  the  integrity  of  the  form  represented,  const!* 
tutes  the  essential  quality  of  the  sketch.  In  a small  pic- 
ture, the  vesture  and  other  accessories  must  be  sacrificed, 
.so  to  say,  to  give  finish  and  perfection  to  the  head. 

To  express  those  details  which  give  effect  to  the  head, 
•and  to  reject  those  which,  if  carefully  executed,  would  de- 
tract from  it,  is  a great  art,  and  proves  more  or  less  the 
taste  of  the  artist;  in  fact,  it  is  itself  a science. 

The  talent  of  the  portrait  painter,  then,  consists  not  in 
the  literal  execution  of  mechanical  processes,  but  in  the 
happy  manner  of  so  disposing  the  parts  that  they  become 
subservient  to  the  whole,  thus  fixing  the  spectator’s  atten- 
tion, of  necessity,  on  the  face  rather  than  on  the  drapery  or 
ornaments,  which,  if  too  well  executed,  would  destroy  this 
effect.  To  study  the  works  of  genuine  art  and  to  endeavor, 
in  studying  them,  to  find  out  what  it  is  that  charms  the 
eye,  and  to  grasp  it,  are  stepping  stones  to  success.  The 
daguerreotype  is  not  a good  model  for  those  who  wish  to 
give  themselves  to  small  portraits,  except  as  indicating  ex- 
actly the  relative  place  of  the  lines. 


30 


The  student  wishing  to  paint  a small  portrait  in  pastely 
will  first  choose  a grayish  tinted  paper,  on  which  the  sketch 
will  be  made,  as  before  directed.  The  first  question  then, 
will  he : How  to  commence,  by  light  or  dark  colors  ? 

We  counsel  him  to  begin  at  the  top  and  with  the  light 
colors,  as,  if  he  looks  at  his  model,  sense  and  reason  wilt 
convince  him  that  the  lighter  objects  striking  the  eye  first, 
are  easier  to  seize. 

But  to  take  an  accurate  impression  of  the  model,  to  know 
how  to  do  which,  requires  much  method,  it  is  necessary  to 
learn  to  see  it  accurately;  not  merely  its  lineal  conforma- 
tion, but  the  arrangement,  the  coloring,  the  pose,  as  the* 
outline  drawing  gives  only  a mechanical  idea  of  the  promi- 
nent parts ; it  is  by  the  play  of  light  and  shade,  the  study 
of  the  clair-obscura,  that  parts  in  relief  can  he  imitated.. 
To  appreciate  the  tout  ensemble , the  model  should  not  be- 
too  close,  nor  yet  too  far  off,  as  the  details  would  then  bn 
lost.  However,  it  is  better,  especially  in  the  beginning,  to* 
take  the  sketch  at  some  distance,  say  of  about  three  yards,, 
and  for  the  details  to  bring  it  closer.  The  most  luminous,, 
lively  and  brilliant  tints  will  serve  as  a standard  of  compar- 
ison for  the  others ; thus  the  well-tutored  eye  will  easily  dis- 
cover the  composition  of  the  tone  of  the  complexion  by 
comparing  it,  for  its  red  tint  to  the  red  lips,  and  for  the 
degree  of  light,  to  the  whiteness  of  linen,  the  white  of  the 
eye,  and  the  color  of  the  eyeball.  There  is  always  a pre- 
dominant color  in  every  complexion,  which  the  good  col- 
orist distinguishes  instinctively  and  finds  on  his  palette  or 
in  his  box  of  crayons,  the  mixtures  which  will  serve  best 
to  imitate  it,  after  having  marked  out  the  tints  in  mosaic 
style,  making  the  contrasts  a little  stronger  than  in  the 
model,  and  giving  particular  attention  to  establish  the  most 
perfect  possible  justice  in  the  color  of  the  eyes,  flesh-tints^ 
the  eyebrows,  also  the  hair. 


31 


To  unite  and  harmonize  the  shades,  run  them  together 
with  the  end  of  the  little  finger,  but  so  carefully  that  only 
the  edges  are  blended,  as  in  nature ; this  soft  light  touching 
is  called  flow,  and  should  not,  of  course,  destroy  the  design. 

As  this  work  diminishes  the  strength  of  the  tones,  it  ex- 
plains why  a little  exaggeration  in  the  contrasts  is  recom- 
mended in  the  beginning.  After  modifying  the  tones,  a 
delicate  finish  is  given  by  the  half-hard  crayon,  in  careful 
touches  to  the  lines,  the  wrinkles,  the  eyelids,  mouth,  nos- 
trils, eyelashes,  brows,  hair,  etc.,  which  require  a special 
study. 

Persons  not  very  expert  in  drawing,  may  make  the  out- 
line, etc.,  by  means  of  impression  or  tracing  paper,  or  by  a 
cartoon,  taking  care  not  to  soil  the  paper  on  which  the  work 
is  to  be  done. 


To  Outline  Heads,  etc. 


The  best  way  is  to  proceed  by  measurement,  considering 
the  model  as  a mosaic.  De  Latour  and  the  celebrated  Ro- 
salba  did  this,  it  is  said.  Avoid  using  the  lakes  too  freely, 
vermilion  is  preferable  in  the  composition  of  tones,  and  the 
heavy  shades  may  be  modified  by  overlaying  them  with 
blue  and  carmine,  the  only  way  to  secure  transparency  at 
pleasure. 

We  cannot  insist  too  much  on  the  counsel  already  given, 
not  to  make  too  much  use  of  the  fingers  in  blending  the 
colors,  as  this  would  destroy  the  transparency  and  softness, 
the  richness  and  fulness  which  belong  to  the  pastel. 

It  is  by  hatchings  that  the  effect  is  secured.  The  finger 
should  only  be  used  to  merge  the  tones  one  into  the  other 
and  so  lightly  as  not  to  injure  the  paper.  This  light  rub- 
bing being  done,  the  delicacy  of  the  tones  should  be  restored 


32 


by  touches  which  cannot  be  prescribed,  as  they  belong  to 
the  domain  of  intelligence  and  perception. 

If  a wrong  color  has  been  used,  it  can  easily  be  removed 
by  brushing  it  lightly,  being  careful  not  to  let  the  dust 
settle  on  the  other  parts. 

When  all  the  light  and  dark  places  are  indicated,  a 
brown  red  pastel  is  used  for  the  shaded  part  of  the  nose,  the 
darkest  part  of  the  eyebrow,  and  the  under  part  of  the  lips, 
and  this  warm  color  gives  life  to  the  whole. 

The  color  of  the  cheek-bone  serves  for  the  relative  color 
of  the  rest.  For  a fresh,  ruddy  complexion,  vermilion 
shades  are  used,  toned  with  white  and  ochre;  if  the  com- 
plexion be  pale,  the  white  should  predominate.  To  blend 
and  harmonize  these,  surround  them  first  with  a shade  of 
light  blue  gray,  then  with  a tint  of  greenish  red  and  finally 
with  one  a little  more  red  to  unite  with  the  color,  brown- 
red  first  laid  on.  The  lights  and  shades  of  the  forehead 
are  not  generally  so  pronounced  as  those  of  the  cheeks  and 
the  jaw. 

Avoid  carefully  making  a ring  around  the  shades,  also 
making  the  features  too  sharp,  the  white  of  the  eye,  too 
white,  and  the  paint  of  vision  too  heavy  in  tone. 

The  shades  of  the  outlines  must  not  be  too  dark  for  fear 
of  making  them  too  heavy.  It  is  better  to  put  them  on 
very  softly,  at  first,  and  color  them  little  by  little,  for  this 
is  the  only  way  to  make  them  transparent. 

Let  us  come  now  to  the  processes  employed  by  De  Latour 
and  his  contemporaries.  Before  laying  the  shades  intended 
to  give  the  general  effect,  they  spread  a light  coating  of  red 
(blood-red,  sanguine)  under  those  parts  where  the  shadows 
are  to  be  which  gives  them  a beautiful  vitality.  It  is  not 
well-known,  in  our  day,  that  Titian,  Paul  Veronese  and 
even  Raphael,  laid  a coat  of  brown-red  or  vermilion  under 
draperies,  which  they  wished  to  paint  in  blue.  This  pro- 


33 


cess  has  been  successfully  employed  in  pastel,  as  well  as  in 
oil-painting,  particularly  in  the  human  face.  Yet  more, 
De  Latour  and  Greuze  laid  a tightly  rubbed  coating  of 
black  crayon  under  the  flesh  tints  that  should  be  of  a 
bluish  cast.  Experience  has  proved  that  no  blue  of  any 
kind  can  give  that  bluish  shade  thus  produced. 


The  Hate. 

The  shade  of  the  hair  must,  of  course,  be  that  of  the 
model.  First,  the  different  degrees  of  shading  are  to  be 
marked  off  by  laying  on  the  part  in  shadow,  a tone  equiva- 
lent in  strength  to  that  laid  on  the  cheeks.  Next  comes  a 
warmer  tint  which  leads  to  the  third  or  luminous  tint.  It 
is  well  to  mark  the  outline  of  each  fold  or  degree  (mass) 
with  a warm  tone  and  to  shade  off  with  the  fresh  tones; 
when  all  the  shades  are  laid  on,  they  should  be  blended  or 
rubbed  one  into  the  other  with  the  little  finger  or  with  the 
stump.  Care  must  be  taken,  however,  while  giving  soft- 
ness to  the  edges,  that  the  outline  be  not  destroyed  and  that 
the  light  tints  are  not  soiled  by  the  dark  shades  when  they 
lie  next  each  other.  The  best  way  to  blend  them  in  such 
cases,  is  by  means  of  a demi-tone,  which  harmonizes  with 
both. 


Draperies  and  Back-Grounds. 

Draperies  and  accessories  should  always  be  treated  more 
free  than  the  flesh  tints. 

The  back-ground  of  a portrait  should  be  in  accordance 
with  the  effect  to  be  produced;  its  first  quality  should  be 
to  heighten  the  light  colors  and  make  them  appear  brighter 


34 


by  strong  contrast,  or  to  set  off  the  dark  coloring  by  its 
lightness. 

A uniform  back-ground  can  never  produce  this  effect, 
being  too  monotonous.  A back-ground  skilfully  managed 
in  light  or  dark  around  the  face,  especially  if  it  be  com- 
posed of  tones  corresponding  with  those  of  the  head,  will 
give  to  the  picture  that  harmony  from  which  springs  its 
greatest  charm.  A warm  tone  should  be  chosen  to  bring 
out  a complexion  in  which  cold  tones  predominate,  and 
vice  versa* 


To  Restore  Pastel- Paper. 

Pastel-paper,  which  the  constant  rubbing  of  the  finger 
has  worn,  may  be  renewed  by  rubbing  it  with  flat  pumice 
stone,  very  fine  sand-paper,  or  a pice  of  cuttle-fish;  this, 
however,  puckers  the  paper,  a defect  which  is  easily  reme- 
died by  moistening  it  on  the  wrong  side  with  a sponge  dip- 
ped in  alum  water.  This  process,  however,  relates  only  to 
paper,  which  is  not  specially  prepared  for  pastel  painting. 


LANDSCAPES  IN  PASTEL. 

The  Sky. 

For  a blue  sky,  first  use  a light  yellow  shade,  or  rather 
reddish,  towards  the  edge  of  the  sky  and  the  distances,  then 

*Warm  tones  are  those  which  border  on  red  and  yellow.  Cold 
tones,  on  the  contrary,  are  black,  gray  and  blue.  There  are  warm 
greens  and  cold  greens  in  a landscape. 


35 


put  on  the  blues,  beginning  with  the  lightest,  rubbing  them 
so  as  to  cover  the  whole  surface,  and  laying  each  shade  a 
little  over  the  one  preceding. 

It  is  with  the  palm  of  the  hand  that  these  colors  are 
mixed,  spread  and  blended,  so  as  to  form  the  vault  of  the 
heavens. 

For  a sunset,  after  placing  the  yellow  and  orange  be- 
tween them  and  the  blue,  put  the  lake  tones,  which  will 
prevent  green  tints,  etc. 

When  the  ground  of  the  sky  is  well  laid,  then  the  deep 
clouds  are  placed,  after  that  the  lighter,  and  so  on. 

Mountains. 

Mountains  are  massed  with  blue  and  violet,  mixed  to- 
gether with  the  fingers.  The  finishing  touches  are  given 
with  half -hard  crayons. 


The  Ground. 


When  the  ground  (soil)  is  to  be  of  a reddish  or  grayish 
color,  it  should  be  underlaid  with  a tint  of  black  or  brown ; 
if  yellow,  with  bright-red  or  some  other  kind  of  red. 


Trees. 

For  blue-green,  make  the  undertone  yellow  or  red;  for 
yellow-green,  make  it  black  crayon;  for  autumn  leaves, 
take  the  yellow-browns,  etc. 

Water. 


Water,  near  the  horizon,  is  sketched  with  nearly  the 
same  color  as  it  is  painted ; as  it  approaches  the  base  of  the 


36 


picture,  an  under-coating  of  black  crayon  is  given,  first 
lightly,  then  more  heavily  towards  the  foreground,  and  in 
the  very  front  with  the  black,  mix  a cold  green. 

If  the  bed  of  the  river  is  to  be  shown,  sketch  it  with  red 
and  yellow,  and,  this  part  being  done,  lightly  add  the  water. 

The  Scraping  Knife. 

The  scraper  may  be  usefully  employed,  when  the  foliage 
is  too  heavy,  to  make  openings  through  the  trees,  by  scrap- 
ing off  the  green  and  black  where  the  sky  should  appear. 
If  the  color  of  the  place  thus  cleared  does  not  well  represent 
the  sky,  it  may  be  touched  with  blue. 

Flowers  and  Fruit. 

This  class  of  pictures,  so  pleasing,  is  but  little  cultivated 
in  pastel,  except  by  Mme.  Stephen  and  Miles.  Allain  and 
Petit  Jean.  M.  Lecurieux  has,  however,  executed  some 
large  studies,  beautifully  done  in  pastel. 

The  management  of  the  subject,  a boquet  of  flowers,  or 
a picture  of  fruit,  requires,  as  in  landscape  or  portrait 
painting,  perception  and  intelligence,  especially  in  copying 
the  models,  nature  so  bountifully  affords  during  the  differ- 
ent seasons  of  the  year.  It  is  also  necessary  to  study  the 
work  of  the  masters. 

The  subject  should  be  selected  with  reference  to  the 
place,  which  the  picture  is  intended  to  adorn,  a dining- 
room, library,  parlor,  or  vestibule.  Fruits,  animals,  flowers 
suit  the  vestibule  and  dining-room,  while  landscapes,  por- 
traits, etc.,  find  a more  fitting  place  in  the  parlor. 

Landscapes  and  views  please  us,  as  they  recall  scenes 
and  places  familiar  to  us  by  association  or  study;  but  the 
portrait  and  the  historical  picture  charm  us  still  more,  as 


37 


we  there  see  faithfully  expressed,  the  attitudes,  the  gestures 
of  those  among  whom  we  live,  and  above  all  do  we  see 
depicted  those  emotions  of  the  soul,  which  the  genius  of 
the  artist  has  reproduced. 


Inanimate  Nature,  or  Still  Life. 


This  kind  of  painting  exercises  in  the  artist  not  merely 
taste  in  the  arrangement  of  vases,  flowers,  game,  etc.,  his 
talent  of  imitating  coloring,  design  and  modelling,  but 
also  his  genius  in  the  conception  and  execution  of  artistic 
allegorical  ideas,  that  is,  to  present  objects,  even  trifling  to 
the  eye,  as  to  attract  the  attention  of  the  most  indifferent. 

Tastes  are  as  various  as  the  individual  mind.  To  the 
gourmand,  the  picture  of  a well-filled  table  gives  great 
delight.  Others  prefer  a sea-side  view,  eespeeially  if  their 
opportunities  of  enjoying  the  reality  are  rare,  while  the 
wealthy  and  luxurious  admire  the  expensive  vases,  orna- 
ments and  bijoux,  rare  and  curious,  such  as  the  inimitable 
talent  of  M.  Desgoffe  produces,  for  instances,  a perfect 
mirror  on  canvas. 

But  the  majority  of  intelligent  people  are  not  content 
with  a simple  photographic  picture;  they  look  for  more; 
they  wish  to  lose  the  material  in  the  poetical;  hence  they 
are  enraptured  with  pictures  of  old  armor,  lying  among 
books  and  old  parchments,  all  disorderly,  souvenirs  of  long 
ago,  where  the  imagination  loves  to  wander;  they  will  ex- 
amine, in  their  own  fashion,  each  detail,  and  learn  from 
such  a picture  a lesson  of  the  vicissitudes  of  earthly 
things. 

A simple  bouquet  of  bright  fresh  flowers  will  unques- 
tionably attract  general  attention,  but  if  this  bouquet  be 
thrown  beside  the  traditional  shepherd’s  hat  and  bag-pipes, 
Boucher’s  ideal,  and  from  a mysterious  gloom  a serpent  is 


38 


seen  to  glide  and  twine  its  glassy  rings  among  the  flowers, 
is  not  this  an  allegory  of  the  dangers,  attending  the  pleas- 
ures of  sense,  and  the  more  perfectly  the  painter  conveys 
the  idea  the  greater  the  interest  his  pictures  awakens,  and 
this  is  what  he  should  aim  at,  after  he  has  succeeded  in  the 
management  of  his  colors  and  the  effects  of  light  and 
shade. 


The  Fixing  oe  the  Pastels. 

One  of  the  most  important  parts  with  the  pastel  paint- 
ing, is  the  fixing  of  the  colors.  Various  methods  and 
preparations  have  been  invented,  which  answer  its  purpose 
more  or  less.  The  great  advantage  in  the  fixing,  not  only 
lies  in  the  colors,  making  them  less  sensitive  against  care- 
less handling  or  touching  by  the  glass,  etc.,  hut  in  the  fact 
that  the  colors  can  he  treated  more  like  oil  colors.  While 
one  color  is  laid  on  and  fixed,  it  allows  the  artist  to  paint 
and  glaze  over  with  another  color,  without  disturbing  the 
lower,  and  thus  producing  most  beautiful  effects. 

The  fixing  of  the  colors  can  be  done  on  any  material 
suitable  for  pastel  painting,  more  especially  so  on  paper, 
boards,  canvas,  etc.,  heretofore  mentioned,  as  prepared  ex- 
clusively for  the  purpose. 

The  newest  and  best  adapted  fixatif,  manufactured  by 
F.  Weber  & Co.,  is  their  Sphinx  Fixatif.  It  is  applied 
with  an  atomizer  and  on  the  fineness  of  the  sprays  and  on 
the  evenness  of  depositing  the  same,  depends  the  success  of 
the  fixing  to  a great  extent. 

If  the  atomizer  works  right,  that  is  to  say,  if  it  sends 
out  the  spray  in  form  of  vapor,  a distance  of  from  20  to 
30  inches,  according  to  the  strength  of  the  blowing,  is  re- 
quired to  apply  the  fixatif. 

It  is  always  preferable  not  to  apply  the  sprays  perpen- 


39 


dicularly,  but  in  a horizontal  direction.  Respecting  the 
time  of  the  exposure  of  the  picture  to  the  sprays,  a little 
experience  will  be  necessary;  it  might,  however,  not  be 
amiss  to  state  that  the  picture  should  be  damp  but  not  wet. 
The  quantity  of  the  fixatif  to  be  applied  necessarily  de- 
pends upon  the  quantity  of  the  colors  to  be  fixed,  as  also 
partially  upon  the  material  they  are  painted  on.  As  a 
general  rule,  it  is  better  to  go  over  a picture  a second  time 
than  only  once  after  being  dry,  and  let  the  fixatif  act  a 
longer  time,  as  in  the  other  case  the  greater  dampness  is 
apt  to  curdle  the  fine  parts  of  the  colors,  and  hence  spoil 
the  beauty  of  them.  For  a similar  reason  the  fixing  should 
not  be  done  under  a temperature  of  70  degrees  Farenheit, 
and  it  is  also  to  be  recommended  that  in  winter  time  the 
picture  should  be  dried  near  a stove,  and  in  sunshine  in 
summer  time. 

The  fixing  of  the  colors  possesses  a real  high  value  in  the 
hand  of  the  artist  during  the  execution  of  the  picture.  Let 
us  draw  your  attention  only  to  a few  points.  A fixed 
pastel  picture  acts  to  the  following  application  of  a color, 
like  a new  painting  ground.  Light  on  light,  gives  a greater 
luminosity,  dark  on  dark,  greater  depth  of  color,  than  could 
be  produced  in  pastel  painting  heretofore.  A white  line 
on  a fixed  black  ground  remains  white,  the  same  as  a black 
line  on  a white  ground  appears  black;  without  the  fixing, 
the  colors  in  both  cases,  through  their  mixing  together, 
would  produce  a gray.  This  admits  the  glazing  in  colors, 
as  also  the  changing  in  tints.  Every  artist  may,  according 
to  his  own  individuality,  find  different  advantages  yet  in 
this  style  of  fixing  the  pastels.  This  addition  to  the  art 
of  pastel  painting  is  of  a like  importance,  as  the  durability 
of  the  picture  gained  by  the  fixing. 

The  sizing  of  the  material  (pasteboard,  paper,  canvas, 
etc.)  to  be  painted  on,  is  also  of  great  importance,  in  so  far 


40 


as  a pasteboard,  paper,  etc.,  sized  too  lightly,  absorbs  the 
the  fixatif  too  much,  while  a too  strongly  sized  ground  is 
apt  to  leave  the  colors  too  wet,  and  we  may  mention  here, 
that  the  boards,  papers,  etc.,  prepared  by  F.  Weber  & Co., 
are  sized  uniformly,  and  in  a manner  to  fully  answer  the 
purpose. 

With  very  light  and  delicate  tints  the  fixings  should  be 
done  from  a greater  distance,  and  in  very  fine  sprays. 

Light  ochres  are  colors  not  well  suited  for  fixing.  It 
is  always  well  to  use  an  atomizer  for  the  fixatif,  which 
should  be  cleaned  after  use  with  alcohol. 


41 


GENERAL  RULES  AND  REMARKS. 

If  the  picture  is  to  hang  over  a door,  for  example,  em- 
blems of  art,  science  or  industry,  the  instruments  used,  are 
proper  to  decorate  a work  or  study-room,  or  a library.  This 
principle  must  always  be  borne  in  mind,  that  the  subject 
must  be  appropriate  to  its  destination.  Should  the  picture 
be  intended  to  hang  very  high,  introduce  no  small  details. 

Flowers,  on  a large  scale,  highly  colored  and  not  too 
finely  finished,  producing  at  a distance  a pleasing  contrast 
of  colors,  are  suitable  over  the  door  of  a dining-room,  or 
even  a parlor.  The  effect  will  be  heightened,  if  birds  of 
bright  plumage  enliven  the  picture. 

Cornucopias,  forming  supports,  medalions  in  cameo, 
light  blue  or  gray,  will  always  produce  a good  effect.  The 
beautiful  decorations  on  the  ceilings  of  the  palace  of  Ver- 
sailles by  Charles  Lebrun,  are  fine  examples  of  this  style  of 
decoration.  There  are  also  in  the  Louvre,  or  in  a good 
collection  of  engravings,  subjects  of  this  kind,  animals, 
flowers,  vases,  and  emblems  by  Desportes,  Oudry,  Weenyx, 
and  Lepautre,  which  will  give  good  ideas  of  arrangement, 
etc.  It  should  be  remembered,  that  the  coloring  of  these 
decorative  paintings  should  always  be  in  keeping  with  the 
style  of  the  architectural  decorations. 

The  beauty  of  coloring  does  not  consist  in  a multiplicity 
of  tints,  even  as  wealth  does  not  consist  in  possessing  a 
great  deal,  but  in  knowing  how  to  make  good  use  of  it. 

A picture  is  often  rich  in  coloring,  though  it  has  very 
little;  all  depends  on  the  contrasts,  the  strength,  the  rela- 
tive position  of  the  colors,  as  in  arithmetic  the  value  of  the 
figure  is  increased  or  diminished  according  to  its  place. 


42 


Water  color  and  pastel  are  two  most  valuable  means  of 
studying  the  fugitive  scenes  of  nature.  Pastel  is  particu- 
larly adapted  to  coyping  from  nature  almost  instantane- 
ously those  changing  and  varying  tints  of  sky  and  cloud 
which  the  sun  and  the  wind  produce. 

Eugene  Delacroix  possessed,  in  an  eminent  degree,  the 
rare  talent  of  catching  the  true  effect  of  a scene,  which  he 
wished  to  remember.  He  has  left  a very  great  number  of 
water  color,  pastel,  crayon  and  pen  sketches,  which  testify 
the  indefatigable  ardor,  with  which  he  studied  every  page 
of  the  great  book  of  nature;  and  the  result  of  this  study 
is  shown  in  the  animation  and  life,  that  breathes  through 
all  his  pictures,  even  the  most  incorrect.  To  give  true  ex- 
pression to  his  work  was  the  aim  of  his  life,  and  his  ex- 
ample is  a lesson  to  the  young,  proving  once  again,  that  to 
arrive  at  mastery,  the  student,  like  Le  Poussin,  should 
neglect  nothing  in  the  study  of  nature. 


Advice  to  Amateurs. 

The  amateur,  in  general,  is  cold  and  thoughtless.  Left 
to  his  own  resources,  he  imagines  that  he  is  studying  be- 
cause he  uses  paper  and  hurries  through  some  water  color 
copies,  and  pictures,  but,  in  confining  himself  to  these,  he 
advances  little,  as  he  could  not  reproduce  from  memory  the 
copies  which  have  given  him  so  much  trouble,  and  this  is 
the  only  way  of  proving  to  himself,  that  he  has  understood 
the  models.  Unable  to  pursue  the  course  of  studies  proper 
for  an  artist,  he  must  confine  himself  to  easy  subjects  and 
be  content  to  move  in  a limited,  modest  sphere  of  the  vast 
domain  of  art. 

Sketching  is  a study  as  indispensable  to  the  artist  as 
agreeable  to  amateur,  as  the  sketch  fixes  in  his  memory. 


43 


what  he  has  not  time,  in  travelling,  to  study  minutely  and 
in  detail.  A sketch  is  a resume  in  drawing,  of  any  natural 
object  whatever  in  its  general  character.  The  caricature 
is  a sketch  of  an  individual,  exaggerating  the  character- 
istics or  peculiarities. 

To  sketch  well  requires  observation,  a quick  eye,  and  a 
ready  hand.  It  is  a pecular  talent,  which  some  persons, 
even  artists,  never  attain ; but  every  one  will  recognize  the 
immense  advantages  it  affords  for  the  development  of 
memory,  taste  and  observation. 

Taste  may  be  exercised  in  all  things;  a spirit  of  order 
conducing  to  it.  Symmetry,  regularity  and  the  constant 
exercise,  which  the  well-ordered  arrangement  of  furniture 
offers  to  the  eye,  are  essential  principles  to  the  beautiful, 
and  develop  the  sentiment  of  it,  while  the  incongruous,  the 
irregular,  the  confused,  pell-mell,  or  what  seems  the  result 
of  chance,  destroy  it  in  its  germ. 

The  fashion  of  the  present  day,  which  brings  together  in 
the  drawing-rooms  and  salons  of  the  wealthy,  furniture  and 
objects  of  art  of  every  style,  elaborate  and  plain,  of  every 
period,  ancient  and  modern,  destroys  the  public  taste  and 
changes  these  would  be  elegant  mansions  into  storehouses 
of  curiosities. 

The  science  of  arrangement  constitutes  taste.  It  is  an 
instinct  with  some ; with  others  it  is  the  result  of  study  and 
reflection.  It  increases  order,  the  knowledge  of  forms  and 
proportions,  and  regulates  our  preferences.  The  study  of 
drawing  is  the  foundation  of  this  science,  infinite  in  its 
applications  and  its  results. 

Everybody  can  gather  flowers  in  a garden,  but  it  requires 
taste  to  form  them  into  a bouquet;  a servant  may  and  can 
sweep  a room,  but  it  is  only  a lady  that  can  give  it,  by  a 
few  touches,  an  air  of  elegance  and  refinement.  There  are 
many  who  pride  themselves  on  their  collections  of  draw- 


44 


mgs,  paintings,  engravings,  etc.,  bnt  how  few  know  how  to 
arrange  them  with  taste  ? In  almost  every  parlor  is  found 
an  album — it  is  a mania — but  where  is  there  a picture  in 
them  all  that  would  be  worth  a second  glance  ? 


Pastel  by  Eubbing. 

All  that  has  been  previously  said  relates  to  the  pastel 
emphate  (impasted)  ; there  is  another  kind  of  pastel  work 
called  pastel  frobte  (rubbed),  which  is  done  as  follows: 

After  having  outlined  the  subject,  with  red  or  black 
crayons,  the  shades  are  marked  off  with  a stump  and  sauce 
crayon,  then  the  crumbled  pastel  is  rubbed  lightly  on  to 
make  the  tint. 

The  nostrils,  eyes,  mouth,  hair  and  eyebrows  are  accented 
with  half-hard  pastels ; the  last  touches  are  hatchings  with 
the  half-hard  pastel  lightly  accented,  this  with  the  fine 
dotting  which  finishes  the  work  gives  warmth  to  the  tone 
and  drawing. 

Charming  effects  are  produced  by  this  simple  process,  in 
which  M.  Guet,  Mme.  LSomenil  and  Steuben  have  attained 
superiority. 

The  best  paper  for  this  kind  of  pastel  is  parchment  paper 
of  a light  shade.  The  stumps  may  be  cork,  gray  paper  or 
elder-pith. 

A knowledge  of  rules  is,  no  doubt,  advantageous,  but 
practice  and  experience  alone  teach  their  right  application. 

If  these  limited  and  cursory  instructions  prove  useful  to 
the  student  of  pastel,  this  treatise  will  have  fulfilled  ’ts 
end.  Let  the  deficiencies  be  attributed  to  the  difficulty  of 
the  subject,  and  credit  be  given  for  the  desire  to  benefit  and 
instruct. 


45 


Aqua-pastel.  Pastel  Imitations  of  Oil  for 
Window-shades. 

Many  attempts  at  pastel  have  been  made  on  all  sorts  of 
surfaces,  stuffs  and  various  materials. 

A celebrated  engraver,  M.  Andrew,  invented  a kind  of 
painting,  which  he  called  Aqua-pastel. 

This  process  was  accomplished  by  means  of  soft  crayons 
of  all  colors  and  shades,  prepared  with  honey.  He  has 
written  an  interesting  pamphlet  on  this  subject.  The  ma- 
terial he  used  to  work  on  was  a stuff  called  madapolam. 

He  painted  on  cloth  with  middling  results;  he  discour- 
ages the  use  of  velvet,  hut  recommends  the  wrong  side  of 
satin,  also  muslin,  not  too  fuzzy.  To  these  materials  he 
gave  a preparation  or  sort  of  sizing,  made  half  and  half 
of  starch  and  rice  flour  mixed  with  water  to  the  consist- 
ency of  clear-starch.  The  muslin  was  put  in  the  stretcher 
on  a zinc  plate  and  the  first  layer  of  size  was  put  on  warm ; 
when  perfectly  dry  a second  coat  of  size  was  given;  then, 
a third. 

The  crayons  were  used  as  in  pastel,  taking  care  to 
moisten  the  panel  with  water  beforehand,  and  to  work 
while  it  was  wet.  Special  tools  helped  to  spread  the  colors, 
such  as  a trowel-shape  palette  knife,  which  spread  and 
grounded  the  crayons  (first  coarsely  broken)  in  the  canvas; 
stumps  ingeniously  fashioned  in  cork  like  the  beak  of  a 
bird,  a cone,  the  mouth  of  a flute,  etc.,  were  used  instead  of 
the  finger  to  ground  and  polish  the  work. 

The  liquid  used  to  fix  the  colors  was  Flanders  paste,  dis- 
solved half  and  half  in  water;  it  was  applied  warm  to  the 
back  of  the  picture;  when  this  was  dry,  another  was  put 
on  the  front,  which  last  one  gave  stability  to  the  painting 
under  it. 

To  make  it  look  like  oil  painting  a coat  of  picture  var— 


46 


nish  was  overlaid,  mixed  half  and  half  with  turpentine. 
The  oil  colors  (transparent)  were  then  put  on,  and  the 
whole  was  revarnished.  This  process  served  for  window 
shades  and  blinds. 


The  Amateur. 

To  the  persevering  amateur  we  shall  say  briefly : : 

Perseverance,  an  inquiring  mind,  good  will,  and  a desire 
to  succeed  are  certain  guides  to  progress. 

The  field  of  study  of  the  fine  arts  compared  to  nature,  is 
open  to  all  intelligences. 

Examine  attentively  the  works  of  the  masters  in  the  gal- 
leries of  art  and  yon  will  speedily  be  convinced  that  there 
are  as  many  ways  of  imitating  nature  as  there  are  individ- 
uals. Study  all  the  masters  without  preference  for  any 
particular  one.  You  will  see,  that  while  one  is  devoted  to 
the  study  of  nature  in  its  every  detail,  another  gives  only 
the  picturesque  and  the  grand  in  persons  and  things.  That 
master  represents  only  historical  facts  and  actions,  like 
genius  of  which  consists  in  the  scenic  grouping  and  life- 
like expression  of  the  personages  represented,  without  too 
much  preciseness  of  form  or  too  great  truth  in  the  color- 
ing ; this  one  is  content  to  give  a faithful  picture  just  as 
they  appear  in  reality,  without  seeking  a more  worthy 
subject  for  his  pencil.  The  first  is  ideal,  the  last,  material. 

Paul  Veronese  sheds  a profusion  of  light  over  his  mas- 
terpieces, Le  Poussin,  in  his  wonderful  painting  of  the 
Deluge,  inspires  terror  by  the  blackness  of  the  sky  and  the 
waters,  which  threaten  to  engulf  man  and  beast.  Rem- 
brant  is  often  enveloped  in  a shadowy  clair-obscur , pro- 
found and  mysterious.  Rubens,  luminous  and  brilliant, 
shows  us  everywhere  life  and  action.  His  women,  full  of 
health  and  youth,  resemble  neither  those  of  Titian  nor 


47 


Raphael.  Every  artist  has  painted  women  as  he  saw  them 
around  him  in  each  country,  dark  or  fair,  gay  or  melan- 
choly, showing  thus  the  universality  of  the  beautiful  in 
form  and  color,  and  proving  also  that  it  is  everywhere  for 
those  who  have  eyes  to  behold  it. 

Study  the  points  of  difference  and  resemblance  in  the 
different  masterpieces  of  art  and  in  the  genius  of  each,  and 
you  will  thus  make  from  your  own  impressions,  a most 
instructive  classification.  lib  i 1 by  so  doing,  that  we  learn 
to  criticize,  and  distinguish  the  characteristics  of  the  dif- 
ferent schools.  Never  be  exclusive;  many  artists  are  lost 
by  adopting  an  exclusive  style. 

Treatises  teach  mechanical  processes,  which  the  student 
will  use  with  more  or  less  zeal  and  success,  as  he  finds  best 
suited  to  himself.  Every  one  can  make  progress  in  pro- 
portion to  his  own  co-operation. 

The  peach  is  a very  beautiful  fruit,  pleasing  to  the  eye 
on  account  of  its  velvety  skin,  its  well  shaded  coloring 
made,  as  it  were,  to  be  imitated  in  pastel;  moreover,  it  is 
sweet  to  the  taste  and  soft  to  the  touch,  and  agreeable  to 
the  smell. 

Study  the  beautiful  pastels  of  the  masters.  Their  charm 
is  inexpressibly  great;  open  a box  of  handsome  pastel 
crayons  well  graded  in  color,  do  you  not  desire  to  know 
how  to  use  them  ? Does  not  desire  excite  in  you  the  hope 
of  success?  Is  not  hope  a leading  element  in  our  happi- 
ness ? 

Your  first  well  directed  efforts  will  teach  you  patience, 
the  most  useful  of  the  virtues.  Eegin  with  the  simplest, 
such  as  tapestry  designs  of  flowers  in  squares  like  mosaics, 
blend  the  colors  one  into  the  other  softly  with  the  finger 
and  it  gives  an  appearance  of  more  finished  work.  Then 
comes  the  copying  of  flowers  from  nature,  afterwards, 
figures,  whose  colors  being  less  varied  and  striking,  require 


43 


more  clearness  and  exercise  of  the  eye,  also  a thorough 
knowledge  of  drawing. 

The  copying  of  geometrical  figures  is  especially  recom- 
mended as  an  excellent  study  of  the  play  of  light  and  shade. 
A perfect  knowledge  of  these  is  to  possess  the  best  scientific 
elements  of  imitation  in  drawing,  because  geometrical 
figures  enter  into  every  design. 

It  is  well  to  exercise  one’s  self  in  copying  transparent 
and  translucent  bodies,  such  as  crystals,  vases,  etc. 

All  is  measure  and  proportion  in  drawing,  in  painting, 
in  sculpture  and  in  architecture. 


Experimental  Practice. 

There  are  many  ways  of  making  one’s  self  familiar  with 
the  use  of  the  pastel,  for  instance,  by  frequently  practising 
the  blending  of  colors  on  strips  of  rough  glass,  on  rough 
paper,  on  pastel  paper,  etc. 

These  experiments  will  teach  the  choice  of  the  right  ma- 
terials suitable  for  every  subject,  and  the  intelligence  of 
the  artist  will  guide  him  in  the  execution  of  his  work. 


INDEX. 


PAGE. 

Author’s  Preface, 3 

Origin  and  Advantages  of  Pastel 5 

Fundamentul  Hints, 9 

Definitions  of  Terms,  etc., 9 

Harmony  of  Colors, 1 1 

Material  used  in  Pastel  Painting,  . . . . .12 

Of  Pastel  Paper  ; how  to  Prepare  to  Ground,  . . .13 

Pastel  Cryons, 14 

Perception  and  Observation  are  Necessary  to  the  Colorist,  21 

The  Education  of  the  Eye, 22 

The  Outline  Sketch, 28 

General  Observations, 28 

Portraits  and  “Genre, 28' 

To  Outline  Heads,  etc.,  .......  31 

The  Hair, 33 

Draperies  and  Backgrounds 33 

To  Restore  Pastel  Paper  Worn  by  Rubbing,  . . .34 

Landscapes  in  Pastel, 34 

Skies  and  Mountains,  . . . . . . • 34,  35 

Ground  ; Trees  ; Water,  .......  35 

The  Scraping  Knife,  36 

Flowers  and  Fruit,  ........  36 

Inanimate  Nature,  ........  37 

The  Fixings  of  the  Pastels, 38 

General  Rules  and  Remarks 41 

Advice  to  Amateurs,  ........  42 

Half-hard  Pastels.  Pastel  by  Rubbing,  . . . .44 

Aqua-Pastel.  Pastel-Imitation  of  Oil  Painting,  . . 45 

The  Amateur  .........  46 

Experimental  Practice, 48 


50 


NOTICE. 


The  study  of  Pastel  Painting  has  made  great  progress  within? 
the  last  few  years,  and  in  many  of  our  schools  there  are  students 
who  have  acquired  considerable  proficiency  in  this  beautiful 
branch  of  art. 

The  great  demand  for  single  colors  and  tints  of  soft  pastels* 
and  the  annoyance  and  trouble  in  supplying  them  from  abroad* 
have  some  years  ago  induced  us  to  make  another  step  forward  in 
the  direction  of  manufacturing  Artists’  Materials  in  this  country 
by  commencing  to  manufacture 


and  we  feel  gratified  in  stating  that  the  assortment  we  now  offer* 
and  of  which  we  publish  a list  herewith,  ranks  in  softness,  purity 
and  equality  of  color  with  any  of  the  imported  makes,  and  are 
considered  superior  by  many  prominent  artists. 

We  make  each  of  the  soft  pastel  colors  in  eight  tints,  gradu- 
ated from  Nos.  i to  8,  of  which  No.  i is  the  deepest,  and  No.  8 
the  lightest  shade. 

Each  color  of  the  half-hard  pastels  are  made  in  six  tints,  of 
which  No.  i is  the  deepest,  and  No.  6 the  lightest. 

The  back-ground  pastels  are  made  in  three  tints,  the  No.  i 
being  the  deepest. 

For  the  convenience  of  the  artist,  as  well  as  the  dealer,  to 
enable  them  to  sell  the  pastels  singly,  we  put  them  up  in  neat 
wooden  boxes,  containing  one  dozen  pastels  of  either  one  shade 
or  tint  in  a box,  or  one  color  assorted  in  six  tints,  Nos.  i to  6. 

The  size  of  the  pastels  is  that  of  Eefranc’s  largest.  We  will 
constantly  add  to  the  list  such  colors  as  are  desirable. 


51 


We  have  made  up  at  a great  expense  Sample  Cards  of  our 
Pastels,  showing  every  shade  in  its  gradation.  While  these  cards 
are  a great  help  to  the  artist  and  dealer  to  select  from,  they  at  the 
same  time  are  highly  instructive  to  the  art  student  to  learn  the 
-colors  in  their  relative  reduction  of  their  shades.  For  prices  of 
these  Sample  Cards  see  page  55. 

The  quality  of  our  SAUCE  CRAYON  IN  FOIL  has  made  or  it 
a reputation  and  created  a demand  extending  all  over  the  United 
States.  In  a comparatively  short  time  it  has  pushed  out  of  this 
market  the  best  imported  manufacture,  while  we  offer  it  at  a 
much  lower  price  than  the  latter. 

We  also  furnish  our  SAUCE  CRAYON  IN  POWDER,  put  up  in 
glass  vials. 

Our  SEPIA  SAUCE  CRAYON  IN  FOIL  and  SEPIA  CRAYONS 
IN  ROUND  STICKS  will  be  found  valuable  additions  to  any  crayon 
artists’  outfit. 

We  claim  for  our  improved  SPHINX  FIXATIF,  for  fixing  Pastel 
Colors,  that  it  has  the  advantages  over  all  other  Fixatifs  in  fixing 
the  colors  absolutely,  while  it  does  not  materially  change  the 
tints.  It  does  not  leave  the  white  hue  on  the  strong  tints  which 
most  other  fixatifs  do,  and  therefore  it  is  especially  adapted  for 
fixing  Charcoal  and  Black  Crayon  Drawings. 

We  still  continue  to  make  our  regular  Fixatif,  so  well  known 
in  the  market. 

We  beg  to  draw  the  attention  of  our  patrons  to  the  excellent 
quality  of  our  own  manufacture  of 

Pastel  Paper,  made  in  three  sizes  of  sheets. 

Monochromatic  Boards,  three  different  kinds. 

Pastel  Boards,  in  ten  sizes. 

Pastel  Canvas,  in  rolls  of  6 yards  ; 27,  30,  36,  42  and  54  inches 
wide ; made  with  Fine  Fibre,  Monochromatic  and  Velvet  Finish. 

F.  WEBER  eg  CO., 


1125  Chestnut  Street,  Philadelphia. 


52 

PRICE  LIST 


p.  09eb^  $ (o.’s  Soft  Pastel  Colors. 


LARGE  SIZE 


Put  up  in  wooden  boxes  of  12  pastels,  either  of  one  color 
assorted  in  six  tints,  Nos.  1 to  6,  or  of  one  tint  only.  Bach  color 
is  shaded  in  eight  tints,  of  which  No.  1 is  the  deepest.  The  lightest 
tints,  No.  7 and  8,  are  put  up  separately  in  boxes  of  one  tint  only. 


Per 

Per 

Each 

doz. 

Kach 

doz' 

White,  $0  05 

$ 50 

Yellow  Green,  1 to  8,  $0  05 

$ 50 

Black, 

5 

50 

Blue  Green,  1 to  8, 

5 

50 

Velvet  Black, 

10 

1 00 

Brown  Green,  1 to  8, 

5 

50 

Black  Gray,  Nos.  1 to  8, 

5 

50 

Chrome  Green,  1 to  8, 

5 

50 

Blue  Gray,  “ 

5 

50 

Kmerald  “ 1 and  2, 

10 

1 00 

Warm  Gray,  “ “ 

5 

50 

“ 3 and  4, 

8 

80 

Brown  Gray,  “ “ 

5 

50 

“ 5 to  8, 

5 

50 

Green  Gray,  “ 

5 

50 

“ “ 1 to  6 assorted, 

75 

Brown  Red,  “ “ 

5 

50 

Emeraude  Green,  1 to  8, 

5 

50 

Burnt  Ochre  (Bt  Red),  1 to  8 

5 

50 

Olive  Green,  1 to  8, 

5 

50 

“ “ and  Black,  “ 

5 

50 

Terre  Verte,  “ 

5 

50 

“ Sienna,  Nos.  1 to  8, 

5 

50 

Green  Blue,  “ 

5 

50 

Indian  Red,  “ “ 

5 

50 

Cobalt  Blue,  1, 

20 

2 00 

Red  Brown,  ex  dp.,  1 & 2, 

10 

1 00 

“ 2 and  3, 

15 

1 50 

“ 3&4, 

8 

80 

“ 4 to  8, 

10 

1 00 

“ 5 to  8, 

5 

50 

“ 1 to  6 assorted, 

1 35 

“ 1 to  6 assorted, 

80 

Utramarine  Blue,  1 to  8, 

5 

50 

Madder  Brown,  1 and  2, 

10 

1 00 

Prussian  “ “ 

5 

50 

“ 3 and  4, 

8 

80 

Blue  Purple,  1, 

20 

2 00 

“ “ 5 to  8. 

5 

50 

“ 2 and  3, 

15 

1 50 

“ 1 to  6 assorted, 

80 

“ 4 to  8, 

10 

1 00 

Burnt  Umber,  1 to  8, 

5 

• 50 

1 to  6 assorted, 

1 35 

Raw  ” 1 to  8, 

5 

50 

Red  Purple,  1, 

20 

2 00 

Yellow  Ochre,  1 to  8, 

5 

50 

“ 2 and  3, 

15 

1 50 

“ Brown,  1 to  8, 

5 

50 

“ 4 to  8, 

JO 

1 00 

Flesh  Ochre  (Ochre  and  Ver- 

“  1 to  6 assorted, 

1 35 

milion),  1 to  8, 

5 

50 

Crimson  Bake,  1, 

15 

1 50 

Naples  Yellow,  1 to  3, 

10 

x 00 

“ “ 2, 

10 

1 00 

“ 4 to  8, 

5 

50 

“ “ 3 to  8, 

5 

5° 

“ “ 1 to  6 assorted, 

75 

“ “ 1 to  6 asstd, 

1 75 

Chrome  Yellow,  1 to  8, 

5 

50 

Madder  Bake  (Rose  Madder) 

“ Orange,  1 to  8, 

5 

50 

“ 1 and  2, 

20 

2 00 

Saturn  Red,  1 to  8, 

5 

50 

“ 3 and  4, 

15 

1 50 

Cadmium  Yellow,  1, 

20 

2 00 

“ 5 to  8, 

10 

1 00 

“ “2  and  3, 

15 

1 5° 

“ 1 to  6 assorted, 

1 50 

“ 4 to  8, 

10 

1 00 

Carmine,  1, 

30 

3 00 

“ “ 1 to  6 asstd, 

1 35 

“ 2, 

25 

2 50 

Vermilion,  1, 

15 

1 50 

“ 3, 

15 

1 5° 

“ 2 and  3, 

10 

1 00 

“ 4. 

10 

100 

“ 4 to  8, 

5 

50 

“ 5 to  8, 

5 

50 

“ 1 to  6 assorted, 

85 

“ 1 to  6 assorted, 

I 5° 

Counter  case?,  to  retail  from,  furnished  at  cost  price, 


53 

p.GWeb^r  ^ (o.'s  §oft  Pastels  in  picif  cWl?itec5Wood  ISoxes 


No.  Per  box 


ooo  Treble  bottom,  has  378  asstd  soft  and  half-hard  Cray- 
ons, including  Carmine $12  00 

00  Double  bottom,  has  300  asstd  soft  and  half-hard  Cray- 


I 

ons,  including  Carmine 

Double  bottom,  has  164  asstd  Crayons  including  Carmine 

9 00 
6 co 

2 

Full  size, 

“ 130  “ “ “ “ 

4 Oo 

3 

Half  “ 

“ 66  “ “ “ “ 

2 25 

4 

Quarter  size, 

, fine  has  56  “ “ “ “ 

I 5° 

5 

X 

ordinary,  with  44  assorted  Crayons. 

I OO 

6 

X 

“ 30  “ “ 

60 

6 

X 

Black 

60 

6 

X 

White 

60 

6 

X 

Blue,  assorted  shades 

60 

6 

X 

Brown,  “ “ 

60 

6 

X 

Carmine,  “ “ 

3 °o 

6 

X 

Gray,  “ “ 

60 

6 

X 

Green,  “ “ 

60 

6 

X 

Flesh,  “ “ 

60 

6 

X 

Lake,  “ “ 

60 

6 

X 

Vermilion,  “ 44  

1 00 

6 

X 

Yellow,  “ “ 

60 

6 

X 

Yellow  Ochre,  assorted  shades 

60 

Complete  sample  cards,  containing  all  shades  of  F.  Weber  & 
Co.’s  Soft  and  Half-Hard  Pastels  furnished  at  $1.50  net,  for  the 
set,  conta:ning  about  500  samples. 


54 

p.  09eber  § (o.’s  Soft  pastes  fof  Backgrounds. 

Made  in  Three  Tints,  of  Extra  Large  Size. 

No.  1,  DEEP.  No.  2.  MEDIUM.  No.  3 LIGHT. 


Packed  i dozen  in  a box,  assorted  Nos.  i to  3 


Black  Gray 

Each 

....$  08 

Pr  dz 

$ 80 

Yellow  Brown 

Each 
$ 08 

Pr  dz 

80 

Blue  Gray 

....  08 

80 

Burnt  Umber 

, 08 

80 

Warm  Gray 

....  08 

80 

Raw  Umber 

08 

80 

Brown  Gray 

..  . 08 

80 

Brown  Green 

08 

80 

Green  Gray  

....  08 

80 

Olive  Green 

08 

80 

Purple  Gray 

....  08 

80 

Black  & Chrome  Yell 

08 

80 

Red  Brown 

....  08 

80 

Ultramarine  Blue 

08 

80 

Chrome  Yellow.... 

80 

White 

08 

80 

F=.  MEBER  5*  OCX’S 


ftalf-ptard  pastels  in  plat  O&fyife  09ood  Boxes, 


For  Girault’s  and  Uefrance’s  Soft  and  Half-Hard  Pastels  see 
our  regular  Catalogue  of  Artists*  Materials. 


55 


p.  09eber  § (Jo.’s  palf-pard  pastels. 


Each  color  is  made  in  six  tints,  of  which  No.  i is  the  deepest, 
and  gradually  shaded  to  No.  6,  the  lightest  tint. 

Each  color  is  put  up  in  a wooden  box  of  12  pastels,  assorted 
1 to  6,  or  of  one  tint  only. 


Per 

Per 

Each 

Box 

Each 

Box 

Black, 

$0  05 

$0  50 

Red  Brown,  ex.  dp, 

1 & 2 

10 

1 00 

White, 

5 

50 

“ “ 

3 & 4 

8 

80 

Black  Gray, 

1 to  6 

5 

50 

“ “ 

5 & 6 

5 

50 

Blue  Gray, 

1 to  6 

5 

50 

“ “ 

1 to  6 asstd 

75 

Brown  Gray, 

1 to  6 

5 

50 

Red  Purple, 

1 to  6 

5 

50 

Green  Gray, 

1 to  6 

5 

50 

Brown  Madder, 

1 & 2 

10 

1 00 

Warm  Gray, 

1 to  6 

5 

50 

“ 

3 & 4 

8 

80 

Burnt  Ochre, 

1 to  6 

5 

50 

“ 

5 &6 

5 

50 

Raw  Umber, 

1 to  6 

5 

50 

“ 

1 to  6 asstd 

75 

Burnt  Umber, 

1 to  6 

5 

50 

Carmine, 

1 

30 

3 00 

Chrome  Yellow, 

1 to  6 

5 

50 

“ 

2 

25 

2 50 

Yellow  Ochre, 

1 to  6 

5 

50 

“ 

3 

15 

1 50 

Chrome  Green, 

1 to  6 

5 

50 

“ 

4 

10 

1 00 

Flesh  Ochre, 

1 to  6 

5 

50 

“ 

5 & 6 

5 

50 

Brown  Red, 

1 to  6 

5 

50 

“ 

1 to  6 asstd 

1 50 

Indian  Red, 

1 to  6 

5 

50 

Vermilion, 

1 

15 

1 50 

Saturn  Red, 

1 to  6 

5 

50 

“ 

2 & 3 

10 

1 00 

Prussian  Blue, 

1 to  6 

5 

50 

“ 

4,  5,  6 

5 

50 

Ultramarine  Blue, 

1 to  6 

5 

50 

1 to  6 asstd 

85 

Cobalt  Blue, 

1 & 2 

24 

2 40 

Madder  Bake, 

1 & 2 

24 

2 40 

“ 

3 & 4 

18 

1 80 

“ “ 

3 & 4 

18 

1 80 

“ “ 

5 & 6 

12 

1 20 

“ “ 

5 & 6 

12 

1 20 

“ asstd.  1 to  6 

1 80 

“ “ 

1 to  6 asstd 

1 08 

Complete  sample  cards,  containing  all  shades  of  F.  Weber  & Co.’s  Soft 
and  Half-Hard  Fastels  furnished  at  $1.50  net,  for  the  set,  containing  about  500 
samples. 


5fi 


p.  Weber  § £o.’s  pastel  Outfits* 


Filled  Complete  for  Painting  in  Pastels. 


THE  “AMATEURS1’’  PASTEL  OUTFIT 

The  “Scholar’s”  Outfit  No.  1,  consisting  of  Polished  Maple- 
wood Box,  with  fancy  Brass  Handle  and  Fastener,  fitted  with 
divisions  for  materials  and  tray  with  lid  for  Pastels,  inside 
measurement  of  box,  6xio^xi^  inches.  The  box  contains 
29  F.  Weber  & Co.’s  Soft  Pastels,  assorted  colors,  bottle  of 
Fixatif,  Folding  Tin  Atomizer,  Leather  Stump,  3 Gray  Paper 
Stumps,  3 Tortillions,  Brass  Crayon  Holder,  piece  Pointed 
Rubber,  2 Black  Conte  Crayons,  6 Thumb  Tacks,  2 pieces 
Pastel  Paper,  and  piece  of  Chamois  Leather each,  $ 2 00 

The  “Amateur’s”  Outfit,  No.  2,  consisting  of  Polished  Maple- 
wood Box  as  above,  but  much  larger,  and  fitted  with  tray, 
having  2 divisions  for  Pastels,  inside  measurement  of  box,  8 
xio^xi)4  inches.  The  box  contains  58  of  F.  Weber  & Co.’s 
Soft  Pastels,  assorted  fine  colors,  bottle  of  Fixatif,  Folding 
Tin  Atomizer,  2 Leather  Stumps,  4 Gray  Paper  Stumps,  6 
Tortillons,  piece  Pointed  Rubber,  Brass  Crayon  Holder,  3 
Black  Conte  Crayons,  6 Thumb  Tacks,  2 pieces  Pastel  Paper,, 
and  piece  Chamois  Leather ...each,  #3.5© 


57 

BOOK  OF  INSTRUCTION. 

Ooupil,  a Treatise  on  Pastel  Painting,  simplified  and  perfected, 
each, 50  cts. 


P-  W^ber  § (Jo.’s  paleffe  (Jrayon  Material  Box. 


Polished  wooden  case,  with  thumb-hole,  and  chamois  mounted  on 
the  inside  of  lid,  containing  an  assortment  of  Crayons,  Sauce, 
Stumps,  Crayon  Holder per  box,  $i  25 


P*  Weber  S)  (o.’s  paper  prepared  for  pastels 


Per  Per 
Size  Sheet  Quire 

Royal,  19x25...  Jo  25  $5  00 
Imperial,  20x30....  30  6 00 


Per  Per 
Size  Sheet  Quire 

Colombier,  25x35,  45c  $10  00 
Dbl.  Elephant,  30x40,  60c  14  00 


p.  Weber  £ (Jo.'s  -ptea^  Boards  prepared  for  pastels. 


Per 

Per 

Per 

Per 

Size 

Sheet 

: Doz. 

Size 

Sheet 

Doz. 

No. 

2. 

7x9 

$u  15 

$1  60 

No.  12, 

20x24,  $0  60 

#6  75 

i i 

5, 

10^X13^ 

25 

2 60 

“ 15, 

22x28, 

65 

7 65 

< i 

6, 

1 2 J4xi6 

35 

4 20 

“ 20, 

25x30, 

80 

9 50 

4 ( 

8, 

15x18 

45 

5 25 

“ 25,  Med.  22x28, 

40 

4 00 

4 i 

10, 

18x22 

5o 

5 60 

“ 26,  Special  22x28,  25 

3 00 

Special  Sizes,  if  ordered  in  quantities,  made  to  order. 


58 


p.  C/9cber  (o.’s  Monochromatic  Boards 


No. 


Per  Per 
Size  Sheet  Doz. 


2 Thin,  18x23,  $°  35  H 00 
i Thick,  18x23,  45  5 00 


No. 

3 Thin,  22x28, 

4 Thick,  25x34, 


, Per  Per 
Sheet  Doz. 

$ o 50  $ 6 03 
65  7 50 


p.  Web^F  ^ (o.’s  pastel  ^an\)as 

IN  ROLLS  OF  SIX  YARDS 

27  inches  wide,  fine  fibre  preparation $1 

20  “ “ ‘ 

36  “ 

42  “ “ ‘ 

54  “ 

64  “ 

27 
30 
■26 
42 

Wider  Pastel  Canvas  prepared  to  order. 


extra  fine,  velvet  finish 1 


Per  Yard 

Per  Roll 

. $1  IO 

$5  50 

. I 25 

6 00 

. I 50 

7 50 

. 2 OO 

10  CO 

. 3 OO 

15  00 

> 3 50 

20  00 

. 1 35 

6 75 

. 1 50 

7 50 

• 1 75 

9 00 

. 2 00 

10  50 

F.  Weber  & Co.’s  Pastel  Canvas  and  Pastel  Paper 

Prepared  for  SOLAR  PRINTING.  MADE  TO  ORDER. 


Papier-Mache  Plaques 

Prepared  for  PASTEL  PAINTING.  ROUND. 


Each 

Per  Doz. 

Each 

Per  Doz. 

6 inches 

....$  30 

$3  50 

16  inches 

$12  OO 

7 “ 

••••  35 

4 25 

18  “ 

...  I 25 

15  OO 

8l/2  “ 

....  40 

4 75 

20  “ 

...  I 50 

l8  OO 

io  “ 

....  so 

6 00 

22  “ 

...  1 75 

21  OO 

12  “ 

....  65 

8 00 

24  “ 

24  OO 

14  “ 

....  80 

10  00 

OBLONG 

Each 

Per  Doz. 

Each 

Per  Doz 

5x  8 inches  .. 

$4  50  1 

8x12  inches.. 

$ 65 

$7  50 

6x  9 “ 

....  45 

5 00 

9x13^  “ .. 

80 

10  00 

7x10^  “ ... 

— 55 

6 50 

10x15  “ 

I CO 

12  00 

Sample  Books  of  Pastel  Paper,  Boards  and  Canvas 
Furnished  on  Application 


59 


F.  Weber  & Co.’s  Sauce  Crayons 


Each  Per  Doz.  Per  Gro. 

F.W.  & Co.’s  “Philadelphia”  Sauce  Crayons, 

wrapped  in  foil,  packed  3 doz.  in  a box,  $ 05 
F.W.  & Co.’s  “Philadelphia”  Sauce  Crayons, 

in  glass  vials,  packed  1 doz.  in  a box 08 

F.W.&  Co.’s  “Sphinx”  Crayon  Sauce,  bluish 
tint,  wrapped  in  foil,  pached  3 doz.  in  a 

box 05 

F.W.&  Co.’s  “Sphinx”  Crayon  Sauce  Sauce, 

in  glass  vials,  packed  1 doz;  in  a box 08 

F.  W.  & Co.’s  Sepia  Sauce  Crayons,  wrapped 

in  foil 06 

F.W.&Co.’s  “Sepia”  Crayon  Sauce,  in  glass 

vials,  packed  1 doz.  in  a box 08 

F.  W.  & Co.’s  Sepia  Crayons,  round,  No.  1 

hard,  No.  2 medium,  No.  3 soft 04 


Atomizers  and  Fixatif 

Atomizer,  japanned  tin,  folding 

The  Indestrnctible  Atomizer,  solid  metal  tubes,  nickeled  ‘ ‘ 20 

Rouget  Atomizers,  complete  with  Fixatif,  in  box “ 2 50 

Fixatif,  F.  W.  & Co.’s,  for  Charcoal  and  Pastel  Draw- 
ings, 2-oz.  bottle each  20c.,  per  pint,  $1  25 

Fixatif,  F.  W.  & Co.’s,  Sphinx,  for  Charcoal  and  Pastel 

Drawings,  2-oz.  bottle each,  20c.,  per  pint,  $1  25 

Fixatif,  Rouget’s,  2-oz.  bottle each  50 


$ 50 

$5  00 

80 

9 CO 

50 

5 00 

80 

9 00 

60 

6 00 

80 

9 00 

40 

4 00 

Kelt  stumles 

Owing  to  their  softness  and  elasticity  they  surpass  all  other 
Stumps.  Nos.  2468 

Size  in  Diam T\  if  if 

Each $15  $ 22  # 30  $ 40 

For  any  other  Crayon  Materials  we  beg  to  refer  to  our 
General  Catalogue. 


60 


F.  WEBER  8c  CO. 

MANUFACTURERS  OF 

ARTISTS’  CHNyRS 


Plain  and  Ticken  Sketching,  English  Plain,  Romany 
Ticken  and  French  Absorbent* 

Finely  Prepared  Artists’  Oils  and  Varnishes 

RUSSELL’S  CANVAS  BOARDS 

Academy  Boards,  Oil  Sketching  Boards  and  Paper 

Japanned  Tin  Boxes,  Wooden  Palettes,  Studio  and  Sketching  Easels 


For  Oil,  China  and 
Water  Color  Painting 


In  Half  and  Whole  Pans, 
Tubes,  Glass  Pots  and  Bottles 


FINE  ARTISTS’  BRUSHES 

MOIST  WATER  COLORS 

Designers’  Distemper  Colors 

Water  Color  Liquids  and  Indelible  Drawing  Inks 

Liquid  Photograph  and  Tapestry  Colors  and  Material: 

SOFT  and  HALF  HARD  PASTELS 


IN  OVER  500  DIFFERENT  SHADES 

The  Philadelphia  Crayon  Sauce,  in  Tin  Foil  and  Glass  Vials 

PASTEL  PAPER,  PASTEL  BOARDS  and  PASTEL  CANVAS 

PAPER  MACHE  PEACQUES 
ALSO  IMPORTERS  OF  AND  DEALERS  IN 

Winsor  & Newton’s  Artists’  Oil  Colors,  Brushes  and  Canvas 

LaCroix’s  and  Mueller  & Hennig’s  China  Colors 

French  Fastels  and  Crayon  Materials 

Drawing  and  Tracing  Papers,  Tracing  Cloth 

MATHEMATICAL  INSTRUMEMTS 

And  all  Kinds  of  Drawing  Utensils 

Drawing  and  Painting  Studies 

Everything  in  Artists'  and  Drawing  Materials 

OF  DOMESTIC  AND  FOREIGN  MANUFACTURE 

Pyrography  or  Wood  Burning  Materials 

And  Articles  for  Decorating: 


GETTY  CENTER  LIBRARY 


3 3125  00070  6552 


